Michael Crichton

A year or so after we moved into our current house we had a bookshelf collapse that was a consequence of a) the urge to display far too many cherished hardcovers on a screw-to-the-wall track system, and b) my total inability to put a secure screw into a plaster wall.

One of the most cherished, and one of the few volumes to take any damage from the fall, was my 1972 copy of Michael Crichton's The Terminal Man. It was only a slight tear to the jacket at the top of the spine, but it was still upsetting. I'm not quite your anally-retentive Mylar Snuggs fanboy, but that particular copy is unique.

For a while in the 70s, particularly in that run of stuff from Binary to Westworld, Crichton was one of my career gods in the days way before I had any kind of a career. In 1972, I was still in the Sixth Form. My copy of The Terminal Man was that year's Nancy H Bent Memorial Prize for English, a choice which I suppose would give plenty of scope for snarkiness to commentators who praise Crichton's narrative ability while cutting him down to size on literary quality.

I didn't care. As far as I was concerned, Crichton had nailed it. Then Westworld, precursor of both the Terminator and Jurassic Park franchises, nailed it in another medium.

My non-critical appreciation continued until Sphere when, despite myself, I was disappointed. Instead of a novel offering a solid template for adaptation, it felt like the novelisation of a movie that was yet to be made. If I backed off thereafter, my appreciation of the earlier stuff didn't fade. And I did back off... made uncomfortable by an overt misogyny in his treatment of female characters in Jurassic Park and Disclosure, and feeling myself being co-opted into a neo-con didacticism that first showed itself in Rising Sun.

But then I'd turn up something like Runaway, his overlooked (and great fun) 'gadget cop' movie with Tom Selleck and Gene Simmons, or Airframe, a crash-investigation novel that's light on character but an object-lesson in the mastery of detail, and I'd be reminded of all the positives. To my mind, the pilot of ER still stands as a self-contained gem of a TV hour.

Crichton spoke of the obstacles inherent in making drama out of science, and responded to criticism by scientists of the ways in which they saw themselves portrayed.

"Let's be clear," he said in a 1999 address to the American Association for the Advancement of Science, "all professions look bad in the movies. And there's a good reason for this. Movies don't portray career paths, they conscript interesting lifestyles to serve a plot. So lawyers are all unscrupulous and doctors are all uncaring. Psychiatrists are all crazy, and politicians are all corrupt. All cops are psychopaths, and all businessmen are crooks. Even moviemakers come off badly: directors are megalomaniacs, actors are spoiled brats. Since all occupations are portrayed negatively, why expect scientists to be treated differently?"

Adding, quite reasonably: "I'd remind you Jurassic Park does have a scientist as its hero. He's right there, Alan Grant. He saves the kids, he saves the day, rights the wrongs, and looks dashing. Beside him is another hero, Ellie Sattler, a botanist. So in a movie where nearly every character has a doctorate, why talk about wanting to be heroes not villains?"

It's an insightful address, and recommended reading for anyone interested in the workings of the science-based thriller. David Milch's assertion that "the scientific method is antithetical to storytelling" may well be true, but Crichton's genius was in the dramatic work-arounds that bridged the gap between the two.

And now he's gone.

Damn. Didn't see that one coming.

Robin Romps

I'm still catching up, or I'd have pulled this post together before now... last Friday saw the broadcast of Andy Rattenbury's Crusoe episode The Mutineers and this week it's the show I've known all year as 'hour five', aka High Water by yer own James Moran.

(The 'hour five' business, for a show that goes out in week four, is an attempt to keep everything straight in my head after embarking on a 13-hour plan and then revising it to accommodate NBC's request for a two-hour opener.)

I promised to name names and here they are; Hour 3/week 2 was by Avrum Jacobson, and future episodes come from Nick Fisher, Debbie Oates, Cameron McAllister, Jack Lothian, and Rohan Gavin. I've taken care of the two-part season closer that brings the running flashback story into the present and wraps it up.

I haven't said much about the actual format, but a few weeks before the premiere I was asked to write something for the press release. This is from that:

Everybody thinks they know Robinson Crusoe, but what people really have is just a small handful of images – a man on a beach with a goatskin umbrella, and a footprint in the sand that everyone thinks is Friday’s (it isn’t). Although a lot of the novel is given over to Crusoe’s patient survival, it’s also a rollicking tale of captures, escapes, disasters, cannibals, mutineers and pirates. Defoe fed on the tales of adventure being conveyed back to England from the Caribbean and the Spanish Main, and he turned them into something that feels almost like documentary fiction.

It was never going to be a matter of translating the book page-by-page to the screen. The French did that brilliantly with the Robert Hoffman series in the 1960s, the one that everyone can sing the theme to. I’m not interested in competing with that memory.

What did interest me was Defoe’s world, and the prospect of being let loose in it. Certain things set me free. Part of the brief was to explore Crusoe’s backstory, and memories of the love of his life back in England. But the fact is, in the book there’s very little of one and nothing at all of the other. All we see of Crusoe’s family life is a mild disagreement with his father, and he doesn’t meet his wife or marry until the sequel, which takes place after his time on the island. But this cue to draw on wider elements pretty much opened up Defoe’s world before me. And when I read a couple of Defoe biographies as part of the background research, I knew where my pitch was going to go.

And it was pretty much this:

I grew up on great filmed adventure series that took characters from history and literature, created a world out of the source material, and then revisited that world on a weekly basis – Ivanhoe, Robin Hood, The Last of the Mohicans, Wyatt Earp, Long John Silver. I haven’t seen a show like that in years, and I really miss them.

So let's take that slice of the novel between Friday’s arrival and Crusoe’s escape from the island, and anchor our series arc to its two major incidents – the rescue of an un-named Spanish captain, and the arrival of a shipload of mutineers whose imprisoned crew offer Crusoe his best chance of escape. In amongst those unfolding stories we develop further tales of Crusoe and Friday on their island. For Crusoe’s life and loves in England, rather than add to his life with pure invention I looked to Daniel Defoe himself.

As a child, Defoe lived through the Great Plague and the Great Fire of London. As a young man he dabbled in dissenter politics, lost fortunes in business, and got swept up in rebellion that had him hiding in fear of his life. It reads like something out of a Rafael Sabatini novel, and it’s in a blend of the creator and his creation that I found the engine for our show.

The other part of the brief was to provide action adventure for a modern audience, and I looked backwards for that one, as well. Back to Errol Flynn and Douglas Fairbanks and all those great seafaring swashbucklers from the Warner Brothers Studios. My DVD bill went through the roof.

What we’ve ended up with is a modern show that I’d like to think Defoe would recognise. It draws on his life and his obsessions as well as his most famous work.

One of the most interesting challenges has been the development of the relationship between Crusoe and Friday. Looking at Defoe’s own sources and other contemporary writings, it quickly became clear that there's more to be explored here than a master-servant relationship. When it comes to survival, Crusoe has nothing to teach Friday and so much to learn. Every skill that Crusoe has struggled to acquire comes naturally to Friday. Crusoe can't pronounce Friday’s true name, while Friday acquires English in a matter of months and speaks it with the eloquence of a natural linguist. Theirs is a partnership of equals in an environment where their very survival depends on it. But what Crusoe knows, and Friday can only suspect, is that if they should ever leave the island together, a very different reality awaits them.

Defoe appears to instruct, but he wrote to entertain and in doing so, he almost single-handedly and at a stroke created the novel of adventure. That’s what we’ve got in our sights with this show. We’ve got ships and shipwrecks, swashbuckling and swordplay. We’ve got amazing tropical locations that don't look anything like your usual desert island, and a wonderfully detailed and atmospheric recreation of Defoe's England. We’ve got great young leads and the starriest cast you’ll find on TV anywhere. And, from a personal point of view, I’ve had more concentrated fun working on this show than just about any other.

The most bizarre moment of these last couple of weeks came when I stopped to fuel the Jeep at a Shell station in Santa Barbara.

Above the pump was a TV screen that came to life and ran ads as the unleaded started to flow. First thing I heard was, "Alone on an island..." then I looked up and there was Philip Winchester with his spyglass, through the gas fumes.

Back to normal now.

I think.

KoB in the NYT

The Kingdom of Bones gets the following nod in the New York Times Book Review:

Gallagher conjures a perfect demon to symbolise the industrial era of the turn of the 20th Century in England and America in a book that "shows the occult mystery in its best light", Marilyn Stasio said in the Book Review.

I'm interested to see how differently readers can interpret the book... some look at it and see an openly occult novel, others see it as a more mainstream novel about people of their time who accept the occult's existence. Their convictions play out in the dawning light of a more rational age.

It's a fine line to walk, and one that fascinates me. I'd visited it before in the novella In Gethsemene, which is why it seemed appropriate to offer the story for download as a kind of taster.

In Gethsemene first appeared in Peter Crowther's angel-themed collection, Heaven Sent (Daw Books). Grab it now if you want to look at it, either by clicking here or on the link in the colum to your right; I'll be taking it offline sometime around the end of the month.

John Brunner

I met British SF great John Brunner in his later years - liked him, but could understand his reputation for a certain spikiness and hauteur. He'd come up to Preston to address our local SF group and when the pub closed we all went back to Bryan Talbot's house, where John was staying.

I was going through an album yesterday and came across a small printed card that he gave me that night. I'm guessing that he carried them and handed them out as a kind of credo. It was signed at the bottom, with a small CND symbol appended. I kept it with the signed pictures of TV stars I collected as a kid.

It's titled What We Have Here. The graffito is quoting, I believe, from Cool Hand Luke, released the previous year.

"What we have here is a failure to communicate" - Graffito in hallway of slum apartment building, Lower East Side, New York, 1968

When those creatures who had men for ancestors
Set off in the ember glow of the dying galaxy
In search of fellow-mourners for its funeral
They came very shortly to Arcturus
And there found bones in heaps around machines
Which had been listening to the sky a million years

And likewise found at Regulus and Rigel
And Deneb and Polaris and Denebola
And Canopus and Capella and Achernar
And sixty systems in the Magellanic Clouds
Bones
- piled-up bones -
and electronic ears
Listening and listening
while no one spoke

Autograph News

Issue 25 of Graham Groom's Autograph News UK is now out, and here's another snippet from my interview therein:

I’ve got one last thing to say about autographs, and it’s a general point. Only ask if it means something. There are people out there who compulsively harvest signatures from people they neither know nor care about, and it shows in the request.

I’ve a friend who used to draw for Count Duckula. He had a request from a child for an original sketch for her school project, which he’d have been happy to oblige with were it not for the fact that he got the same request from every other kid in the class. The teacher had set the assignment and given them all his address.

Need I say this is not the way it’s done?

Strange Days Indeed

Well this has been one of the weirdest weeks ever. But I mean that in a good way.

If you've been following the blog you'll be aware that I have my name on a couple of shows airing on US network TV right now. I think I may have let it slip out once or twice.

The beginning of last week found me in Los Angeles for not unrelated reasons... a couple of days of intensive meetings and a day at the studio, meeting the Eleventh Hour creative team and generally bonding with a whole new bunch of people. I'll write more about where that's leading when the time is right.

Eleventh Hour made its debut on CBS a couple of nights before I flew in, so I didn't get to see it go out. But I arrived in the midst of intensive publicity campaigns for both shows; so I drove out from the airport past giant Eleventh Hour roadside billboards, switched on the TV to find a Crusoe trailer every twenty minutes or so, radio spots for the CBC and NBC evening lineups...

I caught the second episode of Eleventh Hour in a motel room in San Luis Obispo, held up on the road and missing all but the last few minutes; caught the whole of Crusoe in another motel, this one in San Juan Bautista (a charming little town, first visited on a research trip in 2003; its Mission was used as a major location in Hitchcock's Vertigo, though the bell tower from which Kim Novak fell was added in a matte painting).

And I've just been told that Eleventh Hour's ratings increased in its second week, and Crusoe "topped NBC's season-to-date average in the Friday 8-10 p.m. slot by 23% in 18-49 (1.6 vs. 1.3) and 50% in total viewers (7.3 million vs. 4.8 million)."

Whatever that means.

But hey, maybe now I can get a meeting at the BBC...

Eleventh Hour USA

The show debuts tonight on CBS in the slot right after CSI, and I'm holding my breath, crossing my fingers, and wishing 'em luck.

I talked about the show concept, and influences, and the whole issue of adapted formats, in an interview with Tom Green for the Writers' Guild newsletter a few weeks ago.

Tom asked,

Did producers/commissioners consider Eleventh Hour to be sci-fi? Is it a genre they worry might put people off?

And I said,

When I sold Eleventh Hour I pushed it as the Prime Suspect of science – a pro-science procedural with today's Bad Science in its sights, grounded entirely in the current state of technology. So no, it was never meant to be science fiction. Although I’d have been happy to see sf writers involved, because they tend to know where the line between actual science and speculation lies. Most arts-background people are far more ignorant of science than professional scientists are of culture. What I wanted for Eleventh Hour was the same kind of probity that you’d apply without question in a legal drama or a medical show. The last thing I wanted was a pasting from the Government’s chief scientific advisor.

If you want to see the full interview, you can find it here.

Next Friday on NBC: Crusoe.

Wickered

I came across my old autograph album when I was straightening the study a couple of weeks ago. Back when I was a child I used to study the end credits of my favourite shows and write to the stars at the addresses of the TV studios.

It's not a huge collection. Getting autographs was a very hit and miss affair in those days. Now it’s an entire industry with a lot of fakery involved. But back then you sent your letter and then maybe you’d hear back six months later or maybe you wouldn’t.

My first was Roger Moore, a lovely colour postcard with a genuine signature. It’s got the spit smear where I tested it because I couldn’t quite believe it was real.

Others followed. Flicking through the album now, it's like a mosaic of my dream life at the time. Richard Bradford, Patrick Troughton, Marshall Thompson, Steve Forrest, Lawrence Payne and Roger Foss from Sexton Blake. Christopher Lee. A lovely picture and a typed postcard from Peter Cushing, and a super 8 x 10 and a personal letter from Callan star Edward Woodward.

Callan was possibly the finest popular TV drama of its era, and one of the least well-remembered because it was made on tape, not film. What survives of the show is really just archive material, below what's generally considered to be commercial quality. I know there was a movie, but that isn't the same. Callan nailed the intimacy of the TV medium.

Years later a friend of mine was producing a film in which Woodward was appearing, and I asked if he would do me a favour and pass along a signed copy of Down River with a little note, along the lines of “you won’t remember this, but years ago...” And I think I even included a photocopy of his original letter to me.

My basic message was, “You showed me how a public figure ought to behave, and I’ve tried to follow your example” And I signed the book “To Edward Woodward, still my hero”.

Got another note back from him, saying how delighted he was.

And, you know? I was eleven years old all over again.

I Want it All, and I Want it Now

In today's Independent on Sunday Andrew Johnson writes:

"The Large Hadron Collider, which took 20 years to build and cost £3.6bn, will not be able to unravel the mysteries of the universe for at least another two months, scientists announced yesterday."

His tongue was in his cheek when he wrote it.

I sincerely hope.

A Word from the Showrunners

I hope he'll forgive me for such a shameless piece of recycling, but I wanted to give more prominence to this addition by Eleventh Hour showrunner Ethan Reiff to the comments section of the previous post.

There's a reference here to an earlier entry titled The Brimstone Boys in which I wrote:

The latest coverage suggests that the creator/producers of the short-lived but influential series Brimstone are being brought in to serve as (Eleventh Hour) series showrunners.

Brimstone starred Peter Horton as a dead cop earning his ticket out of Hell by hunting down each of 113 escaped souls. It had texture and energy and was probably too dark for US mainstream TV. Reaper pretty much steals the premise and, being more lightweight fare, has survived better. But Brimstone was the superior show.

And so it came to be! Anyway, move on a few months and here we are.

In that same post I moaned a bit about how press coverage in these cases always manages to name everyone who had a hand in making the deal while overlooking the originator of the material. As time's gone by, my outlook's changed. The buzz for the new show probably isn't helped by dutiful references to what went before. And I'd much prefer to see the show succeed than stress about a namecheck in Variety.

Hi Stephen,

My name's Ethan Reiff and my partner Cyrus Voris and I are the guys running the American version of your show, here in Los Angeles. We do our best to mention your name as the original creator whenever we talk to the press -- though unfortunately they don't always deem that bit of info worthy of inclusion in whatever they write.

It's great to learn you are a fan of BRIMSTONE and thanks for your kind words about the show. It was our first project in television and we remain very proud of it. If you get a chance, check out "SLEEPER CELL" - the terrorism drama we did for SHOWTIME, which aired on cable and then also on broadcast TV in the UK.

"Eleventh Hour" is proving to be a herculean bitch of a show - but well worth all the effort. We are in the midst of shooting our 6th episode and I'm happy to say that so far EVERY SINGLE PIECE OF SCIENCE COMES FROM THE REAL WORLD.

Whether or not the audience will find this as compelling as we do has yet to be seen - but we're hoping for the best!

One last thing: I think you'll be happy to know there are a lot of British subjects employed in the cast and crew of ELEVENTH HOUR - from English producer-director and line producer to Scots-Irish writer-producer to Scottish editor to English stunt coordinator -- and of course, our Welsh star. Around our offices it sometimes feels like Washington surrendered to Cornwallis at Yorktown.

Still, there's always room to entertain another Limey - so please look us up the next time you're in LA!

I couldn't find a picture of Ethan so here's another one of Marley Shelton.

Well, it's an excuse.

Eleventh Hour USA

Don Kaplan writes in The New York Post:

JUST when TV networks are shopping for new shows at the budget store, CBS has made a $30-million bet on a new series that sounds like "The X-Files" but looks like "CSI."

"Eleventh Hour," which will debut in October, is being produced by Jerry Bruckheimer - the producer of all three "CSI" series, "Cold Case" and "Without a Trace," making him arguably TV's most successful producer of dramas of the last decade.

Based on a hit British series, it follows a pair of investigators, a hunky scientist and an attractive female FBI agent assigned to keep him out of trouble, as they attempt to save the world from cutting-edge experiments gone wrong.

Shooting's been under way for some weeks now and for me it's been weird, like having a kid brought up by someone else. You don't want to interfere, but you want to know they're okay...

If Marley Shelton looks familiar in the photo, here's how you may have seen her last:

The BBC - The New ITV?

In Broadcast, Katherine Rushton reports:

The BBC is to hand network commissioning power to the nations for the first time in what is being hailed as a "radical reshaping" of its structure. Chief operating officer Caroline Thomson is planning to recruit at least five new commissioning executives across BBC Scotland, BBC Wales and BBC Northern Ireland.

Meanwhile, over in The Guardian, we read that the BBC is considering dividing up Jane Tranter's drama commissioning responsibilities after she leaves for the US.

Reading the Broadcast report, it looks as if only BBC Scotland's Anne Mensah, with whom I worked on Life Line, is a drama person. Most of the proposed commissioning power appears to lie in the area of factual, daytime, and 'entertainment'.

But am I the only one who sees this as an ideal opportunity to devolve the over-centralised, personality-focused BBC drama commissioning procedure into something more resembling the old, successful, 'federal' system of ITV, before asset-stripping and consolidation turned it from a showbusiness giant into today's dull monoculture?

Jane Tranter's done a fine job but a 'one gatekeeper' system is flawed at heart, whoever the gatekeeper may be.