PCZ: Joe Dilworth, along with Dan Clark, for Pop Culture Zoo, talking to Gil Kenan today, director of City of Ember.

GK: I thought that was like a true or false. That was the easiest question I was going to get all day.

PCZ: Yeah, well, sorry.

GK: And we’re done!

PCZ: Thank you very much!

(laughing)

GK: How am I doing? I’m doing great. It’s a beautiful day, I’m excited. I haven’t really been out on the show floor yet. I’m really excited to go out and nerd out. I’ve got a four-month-old daughter and I’ve decked her in a kind of exclusive Skywalker Ranch onesie, and I’m going to dangle her around in front of crowds.

PCZ: That will be great. People will part the way for you.

GK: Or rip the little onesie off her pink body.

PCZ: Or they’ll offer you a lot of money for it. “Dude, where did you get the onesie!”

(laughing)

PCZ: So, City of Ember. That’s your first live action film, is that correct?

GK: That’s right. Yeah, although in some ways, obviously, Monster House is animated through and through, it is sort of that my mode of making film was a good transition. I worked with actors on the stage in the sort of motion capture stage, and making the shots I worked with actually the same people who shot City of Ember who I brought on. So, it was an animated film but it was a good stepping stone towards my first live action effort.

PCZ: Now, I wanted to ask you about the motion capture. Was that project –was that how it was going to be done or was it part of the process you came up with?

GK: Um, no, it was going to be a motion capture film although that still wasn’t – no one knew exactly what that meant yet. [Polar Express] was actually in the first or second week of shooting. Maybe they hadn’t even started shooting yet. It was something right in that zone. I came from a life of making experimental films that were sometimes live action, sometimes stop motion, sometimes pixelation, and so I was ready to wrap. I knew that as long as I had a story to tell I could tell it with whatever tools were right in front of me. So I was given a set of tools and it was kind of cool because it was like the Wild West, no one really knew how to make a movie this way or what the movie should look like. I got to sort of corral it and lead it to the theater.

PCZ: Excellent. Okay, moving over to doing live action with City of Ember – did making it seem a little easier since you didn’t have to do the motion capture?

GK: No, every movie is really, really hard. It’s like, it should be hard. If making movies was easy then I don’t think that they would be as good or it wouldn’t be as much fun to see them. Every movie presents its own problems and disasters. We shot in Belfast, Northern Ireland, really far from home in a summer where it rained every single day for the entire duration of our stay. But I got to build an enormous city. I literally got to build a set the scale of which you don’t see any more. I went from a film that was completely virtual to one where I knew I didn’t want it to be like a green screen set extension kind of a film. I wanted my actors to be able to live in a world and interact and for there to be a sort of organic sense of life to the place. We got that when we built Ember.

PCZ: Now, how was location shooting? Was that something that was new to you?

GK: Yeah. I want to do more. I mean, the film is such a controlled story that it almost all takes place within the confines of the city under ground and so location shooting was limited to a handful of days. The majority of the shooting was all in this enormous set. And so the hardest thing was getting my light because I had to wait for the rain to stop and the clouds to move. That stuff’s a bummer. The next time I shoot it’s going to be in the desert. I want to know I’m going to get my light and I’m gonna shoot it.

PCZ: We’re down from Portland so we empathize.

GK: That’s funny. I was just talking to Tim Robbins because he might be doing a movie up in Portland, and by the way Portland is one of my favorite cities in the world, it’s an amazing place. I was telling [Tim] he should go talk to Gus Van Sant about the nature of shooting there because in a way you sort of have to make peace with the gods and know that part of the quality of the film shot in Portland is that no two shots will look alike. It’s almost like a patchwork quilt of light and in a way that sort of defines the look of it and its cool. It’s really good. But that’s not the movie I was making, and so I had to have some control.

PCZ: Were you a fan of the books prior to this?

GK: What books?

(laughing)

GK: I was. When I started there was actually only a manuscript for the original novel. It hadn’t been published yet and there was no sequel, or prequel, or whatever. I read it, it blew my mind. I called the next morning and said I had to make the movie, and then I came in two days later and pitched to Tom Hanks’ company. I pitched them a three hour version of the film without breathing and willed them into submission.

PCZ: They’re like “Okay, fine. You have to do it. Go.”

GK: I used my Jedi mind trick. “I will be doing this movie.” “You will be making this movie.”

PCZ: Was there anything that you had to lose from the books that you really felt…

GK: It wasn’t about losing, it was sort of about adding. The books are a word-based puzzle, and I knew that my job as a director was to create something visual, something cinematic. So it was actually kind of 
one of the challenges I enjoyed the most in this process, was taking something that works well on a page and turning it into something kind of involving, cinematic, visual puzzle.

PCZ: Following up on that, Walden Media is fairly new with Prince Caspian and the “Narnia” series, how was it working with Walden Media and especially translating their printed works to the screen?

GK: It was great. They have a real respect for stories, for writers. They’re very novel-friendly, and also to their credit they really embraced all the things that make this story great. Not a lot of companies would have gone out on a limb on a movie like “Ember”. So it’s been a really great relationship.

PCZ: Fantastic.

GK: Well, I’ve enjoyed our chat.

PCZ: Likewise.

Thank you very much to Gil for his time at Comic Con and to Walden Media for the opportunity to talk to him.

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Amanda Tapping

PCZ: So, how are you?

Amanda Tapping: Very good, thank you.

PCZ: Can you talk a little bit about what sparked the genesis or the beginning of “Sanctuary”?

AT: Well, it was actually a spec script that Damien Kindler wrote about seven years ago while he was living in L.A. and instead of sending it out he shelved it. He hung onto it. I think he knew that it was something special. He showed it to Martin [Wood] in, gosh I’m trying to think how it goes now, January of 2006, and then they showed it to me. Then the three of us tried to figure out what we could do with it. In July of 2006 he shot a little test scene, about fifteen minutes. They presented that to funders and investors. In January of 2007 we shot the eight webisodes, a full two hours. It’s like a little slow moving train that keeps rolling down the track. Here we are now, two and half years after we first started talking about it and making a series.

PCZ: Is there going to be a lot of changes between the web series and the first episode of the show?

AT: In concept, no. In feel, no. But we’ve rewritten the entire pilot. We’re taking the first hour of the webisodes and fleshed it out to two hours. That’s our pilot, ostensibly. The second hour of the webisodes has become a separate episode. We’ve fleshed out the characters more, fleshed out the concept, fleshed out the look and the feel.

PCZ: Are you going to keep some of the same guest stars you had?

AT: Oh yeah.

PCZ: Excellent!

AT: We had to change some of them because of availability. Peter DeLuis, for example. David Hewlett. But those are characters and actors that we definitely want them back.

PCZ: You’re shooting thirteen episodes, is that correct?

AT: Yes.

PCZ: So, you’ll maybe continue some things that were in the webisodes over the thirteen episodes?

AT: Definitely. What this has allowed us to do is take the story arc that we’ve always conceptualized would play out over thirteen episodes – how our first season would play out. Now we have the luxury of being able to do that. So we’ve taken what was sort of a little nut of an idea in the webisodes and fleshed it out. Definitely, there’s things that will carry out.

PCZ: And you’re keeping your feet in the Stargate universe?

AT: I am. I did an episode of “Atlantis” at the beginning of the season, and I’ll be doing an episode at the end of the season. I’m due to shoot in their 100th episode, and, fingers crossed, the word on the street was that there was hope for another SG-1 movie.

PCZ: That’s what we heard in the Continuum panel.

AT: So, we’re pretty stoked about that.

PCZ: How happy are you with Continuum? I would assume quite happy.

AT: I love it. I am. You know, it’s one of those where it doesn’t – it felt like a movie. The excitement of making it was so cool. Truly getting the band back together again. If you were in the panel, you heard us say that, and it’s not untrue. We were all really excited to see each other again.

PCZ: Fantastic.

AT: To watch it last night on the aircraft carrier was a surreal experience.

PCZ: That was amazing!

AT: Wasn’t it crazy?

PCZ: That’s the place to do a movie premiere.

AT: I leaned over there to Ryan Robbins who came to the screening, and I was like “We’re sitting on an aircraft carrier and watching a movie!”

PCZ: Yeah, the was just completely surreal. Popcorn and everything. Wow. Totally bizarre. That was a great party. I thought Continuum was awesome. Ark of Truth, while it was a great movie, it still felt like an extended episode.

AT: Ark of Truth did exactly what it was intended to do, which was round out the series. Tie off the loose ends of the Ori storyline. It had a purpose and it fulfilled that purpose. That meant Continuum was a whole new ball of wax. Continuum was like here’s the blast off into the potential world of features.

PCZ: Yeah, I think Continuum kind of set the blue print to what the movies could be.

AT: Yup, I agree with you. Absolutely.

PCZ: So, assuming maybe “Stargate Atlantis” comes back for a sixth season, even if you’re still doing Sanctuary, are you still up for coming back? [Editor's note: Obviously since this occured in July, it was well before the announcement of "Atlantis" ending in January]

AT: Oh yeah, I’ll never turn my back on my Stargate family. Absolutely. You can’t be that embedded in a show and it’s that much of a cherished experience for me that I could never turn away from it. “I’m so over Stargate.” I could never say that.

PCZ: I can’t imagine any of you guys saying that. Just the way you talk about it.

AT: I know, its way too special. We all hold it with such reverence.

PCZ: How do you get through actually doing a day’s filming with Richard Dean Anderson?

AT: It’s very painful. It was hard getting through the panel!

PCZ: I was amazed – I was actually going to ask a question about how difficult it was to get back in the role of O’Neill, and then I realized when he got up on the Red Carpet, that that’s just him.

AT: O’Neil started out as a completely different character, and then became Rick.

PCZ: Yeah, definitely. So, with “Sanctuary”, you’re Executive Producer still? Are you also involved in doing any of the writing? Maybe possibly directing?

AT: I’m the go-to director. So, for example, Martin was away at a television festival and I directed Sanctuary while he was away. As far as writing, I’m involved in the white-boarding of a story, and the concepts, but I leave the writing up to the people that are good at it. I don’t have the time and I don’t have the aptitude for it. I really enjoy the concept and sitting down and going “Okay, but then what if this happened, and what if this happened.” And then I let other people flesh it out.

PCZ: Excellent. Make them do all the work.

AT: (laughing) Sure! Exactly.

PCZ: I know the big thing with TV series, especially Sci-Fi series, is that “we’ve got several years mapped out.” Is that similar with “Sanctuary”? Do you have kind of an idea of where the characters are going?

AT: Yeah, certainly. We have a two-year plan for it. But really our focus, when we found out we had thirteen [episodes], it’s kind of the perfect number for us because you have a very succinct thirteen episode arc. You know, crossing fingers that we do get picked up for a second season…yeah.

PCZ: Is it possible that season one could get extended beyond thirteen?

AT: I don’t think so. You know, we’re in a good position in terms of the timing of the roll out of the show. I think that it is – thirteen is what it’s going to be. If anything, we can hope to get an early renewal, an early pickup on season two.

PCZ: Right. So, when you’re not doing Sanctuary or doing Atlantis, what else do you have going on?

AT: A three-year-old.

PCZ: Me too.

AT: Yeah, so that’s pretty much it. “Sanctuary” has been all-consuming from the time I wrapped “Atlantis” through September of last year. I got pulled onto the corporate side of trying to keep “Sanctuary” alive. And the rolling out the show, we really wanted to start shooting in February, but we didn’t start shooting until May because we had so many changes to make and so much to get into line. That was like a daily thing, that was my job. My non-paid job for like a good eight months was trying to keep the show alive and get it going. I did a film [Dancing Trees] for a director called Anne Wheeler, in Canada, during the off season, but right now “Sanctuary” is my baby. Doing that and another SG-1 movie and raising my daughter.

PCZ: Congratulations on that. I think that might be all the time I have. Thanks very much for letting me talk with you.

AT: Thank you.

Robin Dunne [Note: Robin started things off by being intrigued with the gadget I was recording the interview with]

Robin Dunne: What’s this?

PCZ: It’s a Creative Zen.

RD: Wow.

PCZ: It’s an MP3 player, microphone, FM radio, pictures, video.

RD: Very cool. I’m so not technologically up to speed.

PCZ: No technical support in your background?

RD: No. I actually got myself a Blackberry, which I’m very proud of.

PCZ: A Blackberry. Blackberries are pretty addictive.

RD: What are they called? Crackberries?

PCZ: Yeah, exactly. For a very good reason.

RD: So, how’s it going?

PCZ: It’s going great.

RD: This is fun, this is very cool.

PCZ: Have you been here long? Did you just come in?

RD: I’ve just come in, I haven’t even been to the [Comic Con] floor yet.

PCZ: It’s insane.

RD: I’m sure it is.

PCZ: Its 50,000 to 100,000 people. It’s something else.

RD: Just how awesome is it? You know, when I was a kid you kind of had to hide the fact that you were into comic books, and how great is it to be able to see that 180. Comic books, great comic books like Watchmen, winning literary awards. That’s just great. Finally, we’ve come full circle.

PCZ: You’ve got mainstream people that are like “This is the coolest thing ever! Where did this come from?”. So, “Sanctuary”.

RD: Yes!

PCZ: Can you talk a little bit about how you became involved with “Sanctuary”?

RD: Absolutely. Actually it’s a very integral part to the show I think because – you know, Martin Wood called me, we’d worked together years ago. He called me and said “Look, there’s a script, we want to shoot some scenes. We don’t know what it is.” I read the script, I said, “Look, this is great. I’d love to be involved.” We shot, like, a promo. And we waited, you know. We got to do some webisodes. We did a bunch of webisodes and took the show to the next level. After that we waited, and waited, and kind of hung in, and turned down other work because we all really wanted to do this show. Now here we are lending it the perfect home – SCI FI Channel. It really is a dream come true, but more importantly it really galvanized in us a feeling of believing in the show. Really recognizing that this is something different, that this is not just your average job that you get as an actor or director, that this is something different. Hopefully, that feeling, that excitement that we all have – we’re working on the show, but we’re huge fans as well, and for me the excitement of talking about it that I’ve experienced this really cool thing and I can’t wait for you to as well. Hopefully that’s a feeling that comes through and people can – it’ll transcend and people will hook into it as well and say, “Hey, this is different, this is something..” because that’s how we see the show and that’s what we believe in.

PCZ: I think it was a huge risk. I think at the same time because of technology and the way the internet is doing the webisodes was really such a smart way to do it. It shows SCI FI or whoever that there’s a demand for this.

RD: Absolutely. The great response that we got – the fans are so supportive, you know, writing in. And even last year, we were here at Comic Con and the show hadn’t even really launched yet and people were here with T-shirts and they knew about the show and really that’s – that’s exciting to us. It’s also one of the main reasons we’re here because of the support we’ve had from such amazing fans. Hopefully, those fans will become a bigger group.

PCZ: Absolutely. Do you know – Amanda said you guys had a two-year plan for this – do you know where your character is going and is that something that you’re going to start feeding into some of the early episodes?

RD: Yep. Absolutely. I mean, that’s another great thing about the show is that we have a plan for all these characters and to sort of take them into different places and to create solid characters that people can play into. One of the many cool things about working on the show is that the approach is that it’s all our show. There’s no sort of creative room and that trickles down to the rest of us. It’s everybody’s show, so we all get input, we all say, “Hey, what about this, or this would be cool.” To have that involvement and to really feel like you’re part of the creative process, it makes it special and different.

PCZ: Excellent. I know you’re doing all of this on a virtual set. I know a lot of times the question is “How hard is it doing everything in front of green screens” and all that, but it seems like that would almost free you to concentrate on the character and what you’re doing and saying.

RD: Yeah. I mean, hey, I get to work with a great company of actors, and Amanda being definitely a major part of that, so it doesn’t really matter for me. And also, the great story teller. We’ve got some really great stories to tell. The fact that we’re standing in a green room doesn’t really matter. I’m getting to act with Amanda Tapping for god’s sakes. But, the cool thing about that as well is that the green screen allows us to do absolutely anything. You can go anywhere and do anything, so the possibilities are really limitless and that’s exciting as well. I get a script every week and I say, “Where are we gonna go next? What’s the adventure?”. Yeah, it’s a lot of fun. But, the weird thing about shows like this is that you could have the coolest visual effects and technology on earth, but if you don’t have really cool storytelling, you really don’t have a lot. I think that this show is that beautiful meeting of the two roads. What Martin was saying in the panel – we will send our effects guy, or part of our effects team, when they come to fix a shot it’s like “Oh, my god. That’s what we shot.” It’s mind-blowing. To couple that with such compelling storytelling and great characters. The world that Damon Kindler, and Amanda, and Martin, and Sam Egan have created, that hopefully will come through as making it something that is special.

PCZ: Fantastic.

RD: I used that word “special” like, four hundred times, but it really is. But there’s no other word to describe it.

PCZ: You guys definitely have the advantage having done the webisodes and you’ve had so much time to get to know your characters and you go into it from that strength, as opposed to starting with the pilot and taking a season to discover your characters and what you want to do.

RD: You know, developing your character for the web – the character is here. Then we get to start over in a sense, and go, “Okay, well, let’s take it to another level.” We have the luxury of time. That time was very, kind of, nerve wracking because it was like, “Well, are we going to go? What’s going to happen? Is the show going to happen or not?” But, there was a luxury in that, kind of, to go, “Let’s make this as cool and as complex and let’s make these characters really as interesting as we possibly can.”

PCZ: Well, that’s all I have.

RD: Thanks. Thank you for your time.

PCZ: And thank you for your time.

Thank you to both Amanda Tapping and Robin Dunne for taking time to talk to me and for SCI FI for providing the time at Comic Con.

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As strong as this two-pronged sales model was in 2008, next year looks to be another banner year for the brand. Transformers will not only be celebrating their 25th anniversary but also storming back into the mainstream once again with the tent pole summer film, Transformers 2: Revenge of the Fallen. Despite Hasbro’s reluctance to reveal upcoming product or details on the film, they were more than ready to reveal their plans to honor the Transformers brand for its success.

Unlike the 25th anniversary G.I. Joe line, which is focused primary on the brand’s strongest period during the era of the original Marvel comic and Sunbow animated series, Transformers will celebrate all iterations of the line. From a re-issue of original hero Optimus Prime to characters from various themes, these new products will be released under the banner of ‘Transformers: Universe’. As products from the animated series and movie will primarily carry the youth/casual shopper market, the 25th anniversary line will cater to the collector market. Being the first piece, Optimus Prime will be packaged as a box set with both a DVD containing the first three episodes of the original show as well as a comic. This set will serve as a perfect, inclusive “meet the Transformers” package for collectors and newcomers alike. Releases thereafter will be more specific, giving fans characters and products they want to see. The current Robot Heroes, Universe, and Universe Legends lines are slated to include characters from Generation 1, Beast Wars, Generation 2, and many more.

Needless to say, the fans attend Hasbro’s Transformers panel were ecstatic… it was fantastic to witness. In the internet age, message boards and fan forums are often categorized not by the quietly-content and excited majority but by the angry, bitter and never-satisfied minority that feels the need to whine about a missing racing stripe or the size of a weapon or decal. Seeing the excited and satisfied fanbase represented at the panel was a treat, and Hasbro is certainly going to give them plenty to cheer about in the year to come!

You can read more of C.J.’s musings on film, toys and music over at stunksstage.com.

Click here to see our full photo gallery from the Hasbro Transformers panel at the 2008 San Diego Comic Con!

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Thankfully, Hasbro has carried that concept into its evolved state with Marvel Universe, their upcoming 3 3/4”-4” scale line that is certain to be hugely popular among fans. The line was announced during Hasbro’s Marvel Panel at this year’s San Diego Comic Con, but the full glory of these figures was unseen until they were shown at the Hasbro booth (see pics in our gallery here). At the booth, I spoke with Scott George, Hasbro’s brand manager for Marvel, and he gave me some great details on the line.

Starting in 2009 with an initial run of 9 figures in Wave 1 and 6 figures in Wave 2, the Marvel Universe Series will boast 35 figures by the year’s end. With loads of Marvel heavy hitters in the mix, fans will finally get to pit Spider-Man, Iron Man, Wolverine and Punisher against Destro, Darth Vader, and Mola Ram. At present, the line’s sale model includes single carded figures with variants, as well as a mail-a-way exclusive S.H.I.E.L.D Agent.

“Only that we’ve been working closely with Marvel Publishing on this project and we couldn’t be more excited about it. There is so much stuff going on in the Marvel U right now…. it’s mind blowing!”
- Hasbro brand manager Scott George on the upcoming Marvel Universe line

With the entire Marvel universe open to them, Hasbro’s Marvel team has the opportunity to create not only figures from the comics and Marvel films but vehicles and bases as well. Add those possibilities to Hasbro’s incredibly varied retail structure and fans may see Marvel Universe Battle Packs, Comic 2-packs, 3-packs, retailer exclusives and many other diverse products in the years to come.

Building toward the series’ release, Hasbro has launched the site FuryFiles.com , which appears to be the HQ for a rogue and underground unit headed by Nick Fury (awesome). On the site are faux-classified documents (double-awesome), as well as a great video covering news in the Marvel universe that Fury himself interrupts with a warning message (hat-trick-awesome). Plus, fans can then sign up to join Fury’s unit, which will result in additional access to his files and more. According to Scott, “Fury Files is dedicated primarily to the SHIELD / Secret Warrior experience… [and in time] you’ll actually be able to establish your own identity on the site and customize some aspects of the Fury Files experience.”

With all the attention being paid to the Marvel Universe line, fans of Hasbro’s other Marvel products may feel a bit of neglect. However, they have nothing to fear as these other lines are most definitely set to continue. New Super Hero Squad figures, along with a vast assortment of Marvel Legends were on display in San Diego, and it is evident that Hasbro has continuing plans for these lines in the year to come.

You can read more of C.J.’s musings on film, toys and music over at stunksstage.com.

Click here to see our full photo gallery of the Hasbro booth at the 2008 San Diego Comic Con!

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Participating in the panel were Daniel Knauf (of HBO’s Carnivale and Marvel’s ‘Iron Man’), Mark Guggenheim (writer on Eli Stone and ‘Amazing Spider-Man’), Joe Polaski (staff writer on Heroes who is currently working on Marvel’s ‘Inhumans’ book), Aron Coleite (also with Heroes and Marvel’s ‘Ultimate X-Men’), Roberto Aguirre-Sacasa (Of HBO’s Big Love and the Marvel adaptation of Steven King’s ‘The Stand’), and Kevin Grevioux (writer of Underworld and Marvel’s ‘New Warriors’).

Interestingly, as diverse as the backgrounds of these writer’s are, the advice they had was surprisingly similar. “Keep writing and writing and writing… [so that] you can be prepared for the opportunities that come” was the mantra of Aron Coleite. However, he also advised that not every opportunity will pan out. Many of the writers at the panel acknowledged that rejection letters flow like a river from the publishing houses, and no amount of previous success guarantees a free pass. Some of the writers even framed their many rejection letters, using them as inspiration to keep pushing toward their goals.

A common sentiment among the panel was, on top of the repeated rejections, the frustration over education not being a major player in getting hired. Much to the chagrin of college students everywhere, a writing degree isn’t everything. In fact, it might not be anything, as the panel included several members who did not get their degree in writing or English. Frankly, the writing business is much more complicated than many people realize.

All members of the panel were in agreement that this challenge is just part of the sordid road to find writing success in the world of comics. Grevioux, who started his career in the film industry, got into his Marvel gig by first getting his own properties published independently. Auirre-Sacasa began his career as a playwright. According to Daniel Knauf, regardless of the way in which the opportunity finds a new writer, two paths are inevitable. The first is to network like crazy and meet people, one of whom may eventually give you a shot. The second is to press and write until someone, somewhere notices.

It’s amazing to think that these six writers represent those many would describe as “having made it.” Yet even as professionals, they too continually go through ropes. All six members commented that while either writing for comics or other media is “lots of work” in and of itself, the toll of writing both is considerable. The sheer amount of time and energy needed to accomplish the work literally demands weeks of a writer’s life, during which they have time for little to nothing else, including family. Make no mistake, writing is no 9-to-5 gig.

However, those who love to write will gladly pay this price. For some, it is simply a requisite of life that they put ideas to paper, telling stories and creating through words. To those who feel they’re not living unless they’re writing, Knauf gave a firm bottom line. “If you are interested in writing, write.” That’s no guarantee for success, but it’s a start in the right direction.

You can read more of C.J.’s musings on film, toys and music over at stunksstage.com.

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One of the most longstanding of these partnerships has been with Bowen Designs. This year, Bowen will be producing a number of pieces for Sideshow to send out, giving Marvel fans some very unique, high-end items. The Jackal, Odin, and Crimson Dynamo will be added to Bowen’s extensive line of mini-busts; with full statues of Black Queen, Black Knight, and Carnage slated as well.

Sideshow will also serve as the distributor for Disney’s high-end collectibles, including both statues and busts. The planned line of busts includes The Witch and title character from Snow White, King Triton and Ursala from The Little Mermaid, Captain Hook from Peter Pan and The Rocketeer. The statue line will feature numerous versions of Mickey and Minny Mouse in a 12″ scale. It was not confirmed whether the Disney brand will expand into other types of collectibles, but if the mouse house is known for anything, it’s seizing the opportunity to expand its purse. Should these initial offerings be successful, it is likely new types of pieces will come soon.

Sideshow’s plans include working with celebrated animator-turned-collectible-creator Mark Tracey. Tracey’s Electric Tiki brand has been on the radar of many new fans this year thanks to their exquisite line of stylized Buffy The Vampire Slayer statues. Thanks to the runaway success of Tracey’s first Buffy piece, “Once More With Feeling” fans will soon be getting a “Tough Love” Willow, Dark Witch Willow, “End of Days” Buffy and Glory, all of which uniquely tooned-up. Buffy is not all that Electric Tiki has planned. Statues of The Tick, Captain Action and Darkwing Duck will also be coming to fans this year.

Sideshow’s distribution of Pop Culture Shock’s multi-media statues will expand the 1/4 scale universe, with three major Capcom characters. From the legendary Street Fighter series comes three different versions of Vega along with two versions of Cammy. Two versions of Morrigan will represent the first large scale collectible from the Darkstalkers games.

Museum Replicas will be bringing their extensive line of large-scale premium products to fans via Sideshow as well. Fans will be able to pick up 1:1 scale collectibles of Wolverine’s claws from the X-Men films, Captain America’s Shield from the Silver Age of Marvel Comics and Thor’s Hammer from the Ultimate Universe.

Sideshow will be bringing foreign figures from both Hot Toys and Medicom to the states. Imports from Hot Toys will include mini-busts of both Predator (with removable mask) and Alien, as well as more pieces from their extensive 1:6 scale Alien and Predator snap kits. One of the more unique pieces is a brand-new human female hunter which includes an alien skull for a shield. Also on deck from Hot Toys are their incredibly popular Resident Evil Figures and an amazing 1:6 scale Iron Man. The Iron Man (based on the film version of the character) will feature lights, numerous articulated flaps and interchangeable parts, including a Tony Stark head. From Medicom’s Real Action Hero line comes more 1:6 scale Star Wars figures, including Han Solo from A New Hopeand a Clone Trooper. The Star Wars Vinyl Collectible Doll line will also continue with Darth Maul, Jawa and Wicket the Ewok. Sideshow will also be bringing Medicom’s highly articulated Dragon Ball Z Goku and Super-Saiyan Goku to the states, along with two rock legends; Rolling Stones members Keith Richards and Mick Jagger.

Sideshow certainly has their hands full, to say the least. Between their own extensive portfolio and the addition of other companies’ products, it’s amazing that they continue to steam on with both timely delivery and legendary customer service. Their success, despite this juggling act, is uncanny and fans can expect it to only continue as Sideshow releases more great items in the future.

You can read more of C.J.’s musings on film, toys and music over at stunksstage.com.

Click here to see the photo gallery of our ‘open case’ tour of Sideshow Collectibles booth at this year’s San Diego Comic Con!

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We first spoke with Joe Flanigan (Lt. Colonel John Sheppard) who started things off by asking about the device I was recording with, my Creative Zen (look for my review of the Zen soon). He’s into gadgets and thought it was pretty cool. I asked him what he thought of the con, but he said that he just got there and was told he wasn’t allowed to go to the floor, but if he did he would buy out his own action figures. He recently received two boxes of his own action figure and one of the most satisfying things in his career so far has been to send his action figure to his friends and god-daughters. He joked that is what everyone gets from him for Christmas. “I can’t think of a more beautifully self-involved gift then to send someone your own action figure.”

I asked him if he had any idea what he was getting into when he signed up for Atlantis a few years ago. He answered, “Vaguely, not really…no. I didn’t expect it to run as long and as strong, having done a lot of TV and seeing the nature of the television industry. It’s rare when an audience comes out with so much passion. It’s doesn’t seem to happen in the television business all that often. It’s been a really nice surprise.”

Prior to Atlantis Joe had done eleven pilots in a row. He was on a show called First Monday, which was about the Supreme Court with Joe Montegna and James Garner. It only lasted 13 episodes. Then he was stuck under a contract at Universal for a very long time due to the pilot movie Thoughtcrimes and he wasn’t allowed to work on anything else. He says it was a very complicated situation, but about a week or two after he was released from that contract he was tapped for the Stargate gig. “It’s more a series of what TV shows didn’t make it would be the more appropriate question.”

I mentioned that we had previously spoken to Paul McGillion and Joe said it has been great having him back and that they are really good friends. If he could, he would have Paul back full time. “I give him crap all the time and he takes it. He’s got a fan-base, too. If we had a lot more money we’d probably have him on the show all the time.”

When asked for any spoilers for the new season, Joe deadpanned: “I sleep with everyone. And then I hate everybody. And then I sleep with them again. That’s pretty much the way that one goes. But stay tuned, because it’s how you sleep with people that’s really interesting.”

On the subject of new villains in the series, Flanigan replied: “That’s what we need, a really good villain-ess. You know what, that’s a good idea, I’m going to go pitch that story in about 5 minutes to Brad [Wright] (laughter).” Joe pitches stories all the time, previously to Wright but now to Paul Mullie and Joe Mallozzi. He has written a few episodes, but none for the current season. He finds himself overwhelmed with traveling from Vancouver to LA every weekend to raise his three boys. “My goal is to not get totally worn down.”

Getting a little more serious, Flanigan stated he would love to direct Atlantis at some point. He says one the few discouraging things this possibility is that he is getting stonewalled by the Canadian unions not letting Americans direct. Being the star of a show that’s been running for five years, and an American owned show, and he believes there should be some considerations for Americans to be able to direct. It’s a situation that he is not happy about.

Next we spoke with Robert Picardo (Richard Woolsey), who was familiar with Pop Culture Zoo! We have been endeavoring to schedule an interview with him for a few weeks prior to SDCC and we will continue to do so as the series progresses. It’s very apparent that Robert relishes playing the character of Richard Woolsey as he greatly enjoys talking about him. About his character, he said he starts to get sucked into the action. He described Woolsey as a man who is used to being in a business suit in his leather chair in an air-conditioned conference room. Now he will find himself racing down the corridor in a new uniform and holding a big gun, falling down an entire flight of stairs as he hits a stun field.

Over the coming season of Atlantis, Woolsey will have emerging relationships with crew members and gain their respect as they realize there are more sides to Atlantis’ new commander than seen at first glance. “This guy puts his worse foot forward when he’s in a new situation and he’s nervous about his new job. That brings out the worst qualities in him. As he gets to know them he opens up and shows new sides. He has other qualities and he’s really trying to turn himself into a good leader. His most redeeming quality is that he really, really cares about doing the best job that he can. It’s just that he’s not good at showing things really well as he’s not good inter-personally. He’s not a warm guy.”

He goes on the say how intimidation is a tool that can be used when someone is put into a command situation. “When you’re sent in to evaluate someone, you don’t want to buddy up to them – because they’re under your microscope. It’s been a career strength for him that he’s not a cuddly guy. He’s the one who has come in, gathered the data, done the interviews and written a report that assigns blame, points the finger at someone. Now, he’s the one who is going to have the finger pointed at him. Now he’s the guy who’s in the hot seat. That’s inherently the irony of that situation. And inherently cool and interesting for me as an actor. Now I am on the playing field and I cannot simply sit in my armchair and watch the game.”

Asked if there will be new villains, Picardo says yes, but that he’s not good remembering their names. “Remember, I come from Star Trek where we had a different rubber forehead every week, so I’m not necessarily good at remembering the names.” He can do equivalence examples, such as Borg + Replicator = Wraith. There are certain conversion equations from Star Trek to Stargate. But there are definitely some cool new villains coming up.

Earlier, in the Stargate Atlantis panel there were comments made about the ‘softening’ of Woolsey. I was a little concerned about that and brought it up to Robert. He said that it wasn’t so much of a softening, but when you meet a character you don’t initially like but eventually grow accustomed to, it’s because you discover little hints and insights into what makes that person the way they are. “The writers are building in enough revealing moments, often when I’m alone, and they’ve been very anxious to hear my input. I had a suggestion that was put into the end of the third episode. I thought it would be fun if when Woolsey goes back to his room to relax he puts on a business suit and a tie and sits and listens to music and has a glass of wine. But he dresses up to relax. That to me would say there is a part of his old life that he misses, the civility. Many men that live in a business suit hate it, but I think there is something about him that that is his old uniform of 35 years and he misses it. He likes the new job, but he misses the civilized nature of having a crisp shirt on, a tie, a perfectly groomed suit and relaxing that way. We play on that maybe two times so far. It’s referenced a third time, but now to show that he really feels comfortable in his new uniform. That shows a man who is growing into his new job… or filling Amanda Tapping’s shoes.”

I was curious what, after Voyager, made him decide to jump back into another sci-fi show. He said that enough time had gone by and he likes the routine of being on a television series, the sense of family. It gives you great freedom to do other things. “In your time off, if you want to go do a play, you have the money to go do that. You don’t have to make decisions based on financial concerns because that part is taken care of. So, it gives you all kinds of freedom to do creative and different things, whether it’s travel, take time off, write a book or do something with my children or go on an extended college tour. I have the freedom to do all this other stuff because I’m now working steadily for seven months of the year. But more than that, Star Trek has given me a dedicated group of fans who like to watch me and they watch me in any other show I pop up in. They’re particularly gratified to see me pop up in another science fiction show that they like anyway. It’s been a win-win for me. And I also think I’m the first actor to play a regular part in both of the major science fiction franchises. Straddling two studio franchises like a colossus!”

Then is was time to talk to the lovely Jewel Staite (Dr. Jennifer Keller). When asked about her experiences this year as opposed to being the new member of the cast last year, she said that she feels more at home. She doesn’t feel like the newbie, more like one the gang. The cast has been very welcoming. “They tease me and pull my hair and I think that’s ’cause they love me. Like on the schoolyard when you’re kids.”

I asked if she had any trepidation going from Firefly to another popular show. She said the only trepidation she had was that she was coming in after a very well-loved character (Dr. Carson Beckett) was leaving. “That’s the only thing that stressed me out. I knew that no matter what, people were going to be sad about it. I had huge shoes to fill. I just kinda had to let go of that and get it out of my head and do my own thing. I feel better about it now, especially since Paul McGillion is coming back.”

Speaking of Firefly she looks at it as being bitter sweet. “It was such an amazing time and all of our lives. We were so very close, but at the same time it’s so nice to be with a show that has their groove and it’s a well-oiled machine. Everybody keeps saying that. but it’s true. It’s nice coming on to something where everybody knows exactly what they’re doing and it’s a very relaxed environment.”

I speculated that perhaps since Jewel had played Kaylee (in Firefly) it enabled fans to be more accepting of her in a different sci-fi show and she agreed. “Kaylee was such a lovable character and I was really lucky to play that character. That’s all Joss (Whedon). I hoped that since people accepted her that they would give me a chance a little bit and I think they did. Last year at the Comic Con panel I notice people wearing the Jayne hat and being there in the audience to support me and that made me feel really good.” I pointed out that at this year’s Atlantis panel when Firefly was brought up, the entire room when nuts. “Yeah, the little engine that could I guess. Who knew. We thought no one was watching us.”

Concerning the development of her character, Dr. Jennifer Keller, Jewel said she was really excited about this year so far. Last year they didn’t really know what the character was about. This year, the writers are coming up with more comedy. “She’s quirkier and very loving. More friendships this year and more warmth. And Possibly romance.” On the romance front, I asked if she could confirm whether Keller chooses to another character to become involved with. “Romance makes the characters more real and shows tend to shy away from that.” We both agreed that Stargate is probably at its best when it focuses on the character moments.

Jewel said she is not interested in directing because there’s so much pressure and the actors that direct always end up looking stressed out. Writing perhaps, but she would like a professional writer working with her. Again, less pressure. She’s very willing to pitch ideas and help in the writing process, but no directing.

That was the end of our time with the actors. I want to thank Joe Flanigan, Robert Picardo and Jewel Staite for taking the time to talk to us and also the folks at SCI FI for making it all possible.

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The impending 1/6 scale figures alone are enough to empty any fan’s wallet.  With incredibly popular brands such as Indiana Jones, Star Wars, and G.I. Joe filling out the 12” ranks, Sideshow is sure to draft many collectors into their loyal customer base. The previously announced 12” Indiana Jones figure will be joined by Dr. Rene Belloq as well as a Fertility Idol Base (available only in conjunction with the purchase of Belloq).

Sideshow’s Star Wars line will continue with figures from A New Hope, including a Stormtrooper, Darth Vader and a Tantive IV Rebel Trooper.  These are announced on the heels of prequel Jedis Obi-Wan Kenobi (in Clone Trooper Armor) and Ki-Adi Mundi (a Sideshow direct-to-consumer exclusive).

The 1/6 scale G.I. Joe series will begin strong with the upcoming release of Snake Eyes and Cobra Commander; and while I pushed for news on upcoming recruits, our Sideshow tour guides let nothing slip. My money is on either Destro or Flint… but as I said, no other characters were specified for the next releases.

Tomb Raider’s Lara Croft, Sideshow’s premiere video game property in the 1/6 scale, was also on display. True to Sideshow’s portfolio, the character was looking as adventurous as ever (and by “adventurous” I mean “hot”).  The Dead, Sideshow’s in-house 12” zombie line, will also see newly risen & grisly flesh-eaters. Expect to see undead versions of a Street Prophet and a Mall Santa all coming before Christmas.

Not all of Sideshow’s 12” figure collections will add members to their fellowship.  Sadly, no new 12” scale Lord of the Rings figures could be confirmed at the time of the show. Given the investment already sunk into tooling the new bodies for the previously-released Sam and Frodo figures, one would assume that Bilbo, Merry, Pippin, or perhaps even a pre-corrupted Smeagol could be released some point.  However, neither these nor any other new 12″ figures in the LotR line could be confirmed.

Anyone familiar with Sideshow’s work knows that the company has plenty of goodies to offer beyond their 1/6 scale figures. On display at this year’s SDCC, fans got a glimpse of upcoming 1:1 scale prop replicas like the Eye of Shangri-la and Dragon Dagger from The Mummy: Tomb of the Dragon Emperor as well as the Big Baby from Hellboy 2: The Golden Army. Other 1:1 scale pieces included full scale busts of Hellboy, The Angel of Death (from Hellboy 2), a movie-inspired Iron Man (developed in conjunction with Stan Winston Studios), Predator and Nosferatu.

The Premium Format figure line will continue with stunning multimedia pieces sure to dazzle collectors. From the Star Wars galaxy comes the incredibly detailed Asaaj Ventress from (Clone Wars) and a Tusken Raider (A New Hope). Other popular film characters such as the Creature from the Black Lagoon, Hellboy, Conan, Indiana Jones and a Moria Orc (Lord of the Rings) will expand the Premium Formant line’s movie-based assortment.  Acting legends Bruce Lee, John Wayne, Elvis and an animated Elvira will continue the celebrity-inspired portion of the line.  The 1/4 scale Marvel line will get another mutant in the mix with Mystique and Laura Croft will serve as the first video game inspired figure to get the Premium Format treatment.

Additional maquettes and statues will continue as a large element of Sideshow’s product line.  Fans of the highly-detailed, unique work for which Sideshow is known will have a plethora of polystone to purchase over the next year. While no new products could be confirmed for the Lord of the Rings 1/6 scale line, Sideshow will be producing a pair of Two Towers-inspired statues.  A portrait-inspired Grima Wormtongue standing next to the cursed, enthroned King Theoden and Gandalf vs. Balrog mid-battle were both on display. Several new Sideshow-produced Marvel statues will also be forthcoming as well, including Ghost Rider on a throne, Iron Spider-Man and Rogue.  The high-quality 1:3 scale Marvel bust line will also continue with Sabretooth, Thing and Apocalypse.

Cult classic flick Species will receive its first nod from Sideshow with a 12″ tall maquette.  Sci-fi/horror heavy hitters, Alien and Predator, will be represented with wall-mountable pieces featuring the a version of the creatures from each film (pieces from AVP, Aliens: Requiem, Alien and Aliens were not displayed but are planned for a future release).  Tapping into video game giant Blizzard’s popular licenses, Sideshow unveiled a 1/4 scale Berserker statue (Diablo III) and a polystone Blood Elf vs. Draenei diorama (World of Warcraft). Horror-based statues from Universal’s legendary monster films will also be released the coming year; as will collectibles featuring Sam from Trick R’ Treat.  The numerous additional Star Wars dioramas that Sideshow has previewed over the last several months were also on display, as well as the upcoming FRAMES, a six-book collection of 35-MM prints covering each of the films in the saga.

You can read more of C.J.’s musings on film, toys and music over at stunksstage.com.

Click here to see the photo gallery of our ‘open case’ tour of Sideshow Collectibles booth at this year’s San Diego Comic Con!

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‘Lost’ took the easter egg approach, weaving its pop-culture influences into the show’s ongoing mysteries, while ‘Heroes’ cribbed some great ideas from X-Men and Watchmen, as well as tired comic book conventions, to create a show about superheroes that your mom could enjoy.

To me, ‘Heroes’ has been sort of equivalent to the Hollywood-ification of the San Diego Comic-Con—the place where movie studios have developed nerd-pandering into an art. After all, it’s not coincidence Tolwyn from Wing Commander, Veronica Mars and Sulu have all been hired on for arcs on the show, while the storytelling has never seemed to push ideas of the science fiction genre, or even the superhero concept forward. In fact, the show often seems somewhere in between shame and denial in admitting to its ‘homages.’ (See: Tim Kring denying ever reading Watchmen during season one.)

Even though it was frustrating to watch ‘Heroes’ win the popular vote, justice was had when season one fizzled with an ending that wasn’t as exciting (or logical) as hyped. Even better—the second volume was a shortened season that returned with a similarly shortened audience. (Meanwhile, ‘Lost’ was getting acclaim from a game-changing reveal.) Heroes’ second season ended with creator Tim Kring apologizing, and vowing to make the third season better.

And with the first episode of the third season premiering, rather fittingly, at Comic-Con, the internets have been buzzing with what the next volume—titled “Villains”—has in store for the super-powered Benneton ad.

If the title of the episode—“The Second Coming”—is any indication, the context of William Butler Yeat’s apocalyptic poem refers to the next doomed timeline our heroes will be spending the season trying to avoid. But I wouldn’t be surprised if the title didn’t also refer to the showrunner’s hopes of recapturing the magic of the first season, making the third season it’s own ‘second coming’— especially after last year’s uneven sophomore slump.

But the big question is—with ‘Heroes’ using the Future As A Threat, is it to recycle its first season or a deliberate attempt to do something new with its source material and references?

The episode obviously doesn’t fully answer that question, but at least it gives a pretty good idea what direction the show is headed. Kring’s apology to pick up the pace of the third season is in full effect. Within the first hour, all the main characters’ (minus for Curly-Haired Kid and Super-Gymnast) story arcs are aptly introduced, as is the aforementioned apocalypse.

About the alternate future; the episode opens four years from now, with a leather-clad Claire ready to put a bullet in leather-clad Peter, as he tries to explain a way he can change “everything.” Details are scarce as to why the future is so bad—it is implied that the two characters’ are involved in an inescapable copyright lawsuit brought on by the The Matrix (I think.)— until later in the episode when Hiro jumps to the future and sees a Japan full of super-powered folk, including a super-powered version of his BFF Ando.

All of which links into this season’s game-changer, which revolves around Dr. Suresh deciding that the best way to help the hot South American chick that kills people uncontrollably—is to give everyone else in the world uncontrollable superpowers. It’s a pretty scientific hypothesis, so I didn’t try too hard to reason it out, but it will probably work out for the best. Er, not including the doomed future.

And the weirdness continues with the show bringing in a new swipe: cheesy 70’s horror movies. Claire spends most the episode running away from Sylar within her own house. She stabs him, then hides in the closet for a bit, before eventually being forced to re-enact Ray Liotta’s scene in Hannibal. As clichéd as the scenes play out, I got to thinking that maybe ‘Heroes’ was finally acknowledging its biggest influence: B-movies. Time will tell.

With Sylar back as a threat, the introduction of the Hiro’s speedy new nemesis, and some foreshadowing that some characters may be headed towards The Dark Side, the episode hints that “Villains” will reflect the flipside of the Heroes’ coin. But it was really another comic book staple that caught my attention.

There seems to be a glimmer of hope with the Nathan Petrelli arc, who was last seen being shot at a podium. He mysteriously returns from the dead in the episode, along with another previously thought-dead character, which seems to hint that there might be something interesting introduced to the whole ‘comic-book resurrection’ thing. (And hopefully it’s more than an elaborate attempt at being punny: Nathan is back to life as a “born again” religious fanatic.)

If ‘Heroes’ is going to play with comic books sensibilities, like alternate futures, villains and resurrections, hopefully they’re ready to do something new. Season three looks like it has the potential be a second coming for the franchise if the writers quit with lazy use of comic book devices, and instead do something new with them. Like the beast described in “The Second Coming,” with the body of a lion and the head of a man, here’s hoping ‘Heroes’ can finally fuse mainstream appeal with its geek-cred to be something new, minus the slouching.

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Doctor Who (the Torchwood part can be read here)

Next, Steven Moffat joined us and, despite being very, very jet lagged, he was in a jovial mood, prompting us to dive right in with the questions. The first question was how involved he was in the specials that will be airing next year and the answer was “not at all.” He will be checking out the scripts, which he normally wouldn’t do, but being the incumbent show runner he wants to be aware of what will happen and be able to plan things out with what he wants to do with the show.

Next, I asked him if the show would retain the same format as it has since it’s return. I clarified that by wondering if they would continue to seed things throughout the series with a big payoff in the last two. Steven said that really was the only way to do a show like Who, but it certainly wasn’t a format invented by the show. Likewise, he wouldn’t do a structure where you have to watch every single episode to understand what’s going on. He likes the idea of stand-alone stories that have elements in them that payoff later.

Steven was very thrilled with the series four finale and though it was thought fanboy-ish by some critics, he found it to be more of a celebration of the new show’s mythology. He talked about how Russell T. Davies re-introduced elements of the old show into the new, but now the new show has been around long enough that it has its own mythology and can pay homage to its own history. The core audience for the show is children and four years is a long time for them, so, in a way, things from the first series are “old” to them so it’s important to celebrate the new mythology. Basically, he found the finale fantastically fun and how could you not enjoy that?

When asked if he was coming on board to a clean slate, Steven said that was one of the great things about Doctor Who, you don’t have to have a clean slate. You can choose whether the Doctor steps out of the TARDIS in a completely new environment or runs into an old friend or villain.

However, he does think it’s “inescapably true that Doctor Who is at its most pure when everything the Doctor meets and encounters is brand new, that’s what the show fundamentally is. It’s nice to bring back old things, but new things, new friends, new allies – that’s the really exciting thing. Each series there’s a whole bunch of new kids watching for the first time and they must think this is their show, not the one that their parents watched, not the one that their brother and sister watched, but their show. We don’t want them thinking, ‘well, who’s that, what did he mean when he said that?’ It’s that simple. He’s a fantastic man who travels in space and time with his mate and walks out and has adventures. That’s the whole format.”

The point that the American networks showing the program don’t get that the show is targeted at kids (it’s generally broadcast in the US at nine and ten o’clock at night) was brought up with Steven saying dryly “you’re [Americans] are getting it wrong, what can I say?” Being serious, he said that he’s really vexed by it. It’s a show that has sticker books and trading cards and is a “toy shop show.” Even though there are more adults than children that watch it, he theorized that adults watch it in the same way that they read Harry Potter and watch “Star Wars” or “Toy Story”, because they are targeted to children. The show is high adventure and adults can enjoy it as much as the films and TV shows they are supposed to enjoy. Given all that, he wouldn’t write the show for an American audience or for any audience, for that matter. His philosophy is to write the Doctor Who he would want to see. He believes the show would catch on in the States better if Americans just realized it’s really a show that the entire family can watch and have a really good chat about it afterwards.

He talked about how in England Doctor Who is so ingrained that parents will use it as a behavioral tool, as in “if you’re not good, you’re not going to watch Doctor Who!” So, those kids feel that if they’re watching the show they must be really good. Therefore, since he’s now running the show, he must be the best-behaved boy in the whole country!

Staying on the topic of the show’s perception in the US, the point was brought up that folks here either have never heard of it or really, really love it. Asked what he was going to do to increase its profile over here he quipped that “it would be really good to reduce the number of people who have never heard of it and increase the number that love it.” He continued to joke that it would be terrible if they decided to do the opposite. He did say the key to it to get the message out that kids, their dads and their moms will really love it. “There’s explosions, babes, spaceships, time travel – what’s the rest of television doing?”

The big topic was tackled next as the Time War was brought up and the question was put forth as to if we would ever find out what happened then. He said no, nothing to live up to it. As an example, he cited the original “Star Wars” where they talked about the Clone Wars and you’re little child brain went “woah, fantastic! There must be millions of clones, all identical that were grown in vats, lots of clones. New clones! Clones grown from trees. Brilliant! Then it [the Clone Wars in the prequel trilogy] showed up and it was a bunch of meetings.” He loved Russell T. Davies throwing in all those lines to the Time War, but nothing could ever really live up to the expectation. Somethings are better left mentioned, but not seen.

Steven said he has a fair amount plotted out for series five, but told us plainly that he was not going to talk to us about it. The main reason is that it’s almost two years away and if he starts talking about it now it will feel like a repeat before it even airs. He also wouldn’t talk about whether or not he had a commitment from David Tennant as far as continuing as the Doctor. Basically, if you want to know what happens to the Doctor, you watch Doctor Who. The show runs on surprise, so they don’t give away plot developments ahead of time. He firmly sees the show staying open-minded and described the Doctor as “the ultimate liberal and by which I mean he tells everyone what to do and blows up their planet if they disobey.” Steven says its an adventure show at heart and he keeps reading articles about them “sexualizing the Doctor” and he keeps thinking he’s been missing the good episodes. He was, of course, joking through all of this.

He did address a few things directly related to him, such as he didn’t really apply to the BBC when he was seven years old to run the show, but it was a quip he made that took on a life of its own. Also, the latest stories about him giving up five hundred thousand dollars to run Doctor Who instead of writing the last two “Tintin” scripts for Steven Speilberg are rubbish. He said those figures are completely made up by the press to sensationalize the story and he will be paid quite handsomely to run the show. He cleverly dodge more questions designed to get him to reveal more details about series five, other than agreeing that River Song’s backstory and which incarnation of the Doctor she was involved with was left purposefully vague for a possible return. After more talk about how the show is aimed for kids, but is definitely for the whole family, and some more about choosing writers that was very familiar with writing for TV and writing high adventure our time came to a close.

Steven Moffat is a very witty person and I really think he has the right concepts and themes behind Doctor Who. He’s the perfect choice to take over the reigns of the show and I very much look forward to series five in 2010.

Thank you to Steven Moffat for taking the time to talk with all of us. And thank you to BBC America for making it all possible.

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