AFTERTHOUGHTS (100)
EMMY 2008

So this year’s nominations are out, and here are the nods I took note of:

80th Annual Academy Awards
Outstanding Art Direction For A Variety, Music or Nonfiction Programming (Roy Christopher, Production Designer; Joe Celli, Art Director)
Outstanding Directing For A Variety, Music or Nonfiction Programming (Louis J. Horvitz)
Outstanding Lighting Direction (electronic, Multi-camera) For Vmc Programming (Robert A. Dickinson, Lighting Designer; Robert Barnhart, Andy O’Reilly, Lighting Directors)
Outstanding Music Direction (Bill Conti, Music Director)
Outstanding Individual Performance In A Variety or Music Program (Jon Stewart, Host)
Outstanding Picture Editing Of Clip Packages For Talk, Performance, Award Or Reality Competition Programs [Oscar Show Tribute Sequence] (Chuck Workman)
Outstanding Sound Mixing For A Variety Or Music Series Or Special
Outstanding Special Class – Awards Programs (Gilbert Cates, Producer)
Outstanding Technical Direction, Camerawork, Video For A Miniseries, Movie Or A Special

Battlestar Galactica
Outstanding Cinematography For A One Hour Series [Razor] (Stephen McNutt, Director of Photography)
Outstanding Single-camera Picture Editing For A Drama Series [“He That Believeth In Me”] (Julius Ramsay)
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [Razor] (Rick Bal, Production Mixer; Michael Olman, Kenneth Kobett, Supervising Re-Recording Mixers)
Outstanding Special Class – Short-format Live-action Entertainment Programs [Razor Featurette #4] (Ronald D. Moore, David Eick, Executive Producers; Harvey Frand, Supervising Producer)
Outstanding Special Visual Effects For A Series [“He That Believeth In Me”]
Outstanding Writing For A Drama Series [“Six Of One”] (Michael Angeli)


Chuck
Outstanding Main Title Design (Karin Fong, Jonathan Gershon, Dana Yee, Title Designers)
Outstanding Stunt Coordination [“Chuck Versus The Undercover Lover”] (Merritt Yohnka, Stunt Coordinator)


Dexter
Outstanding Art Direction For A Single-camera Series [“That Night, A Forest Grew”] (Tony Cowley, Production Designer; Linda Spheeris, Set Decorator)
Outstanding Cinematography For A One Hour Series [“The British Invasion”] (Romeo Tirone, Director of Photography)
Outstanding Drama Series
Outstanding Lead Actor In A Drama Series (Michael C. Hall)
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [“It’s Alive!”] (Patrick Hanson, Production Mixer; Elmo Ponsdomenech, Joe Earle, Re-Recording Mixers)


Entourage
Outstanding Comedy Series
Outstanding Directing For A Comedy Series [“No Cannes Do”] (Dan Attias)
Outstanding Sound Mixing For A Comedy Or Drama Series (half-hour) And Animation [“Adios Amigo”] (Steve Morantz, Production Mixer; Dennis Kirk, Bill Jackson, Re-Recording Mixers)
Outstanding Supporting Actor In A Comedy Series (Jeremy Piven)
Outstanding Supporting Actor In A Comedy Series (Kevin Dillon)


Heroes
Outstanding Art Direction For A Single-camera Series [“Out of Time”] (Ruth Ammon, Production Designer; Matthew Jacobs, Art Director; Ron Franco, Set Decorator)
Outstanding Single-camera Picture Editing For A Drama Series [“Powerless”] (Scott Boyd)
Outstanding Special Visual Effects For A Series [“Four Months Ago”]


Justice League: The New Frontier
Outstanding Animated Program (for Programming One Hour or More)


Lost
Outstanding Cinematography For A One Hour Series [“The Constant”] (John Bartley, Director of Photography)
Outstanding Drama Series
Outstanding Music Composition For A Series (original Dramatic Score) [“The Constant”] (Michael Giacchino)
Outstanding Single-camera Picture Editing For A Drama Series [“There’s No Place Like Home” (Parts 2 & 3)] (Henk Van Eeghen, Robert Florio, Mark J. Goldman, Stephen Semel)
Outstanding Sound Editing For A Series [“The Shape Of Things To Come”]
Outstanding Sound Mixing For A Comedy Or Drama Series (one-hour) [“Meet Kevin Johnson”] (Robert Anderson, Production Mixer; Frank Morrone, Scott Weber, Re-Recording Mixers)
Outstanding Special Class – Short-format Live-action Entertainment Programs [Lost: Missing Pieces] (Damon Lindelof, Carlton Cuse, Barry Jossen, Executive Producers)
Outstanding Supporting Actor In A Drama Series (Michael Emerson)


Pushing Daisies
Outstanding Art Direction For A Single-camera Series [“Pie-Lette”] (Michael Wylie, Production Designer; Halina Siwolop, Set Decorator)
Outstanding Casting For A Comedy Series (Camille Patton, Meg Liberman, Jennifer Lare)
Outstanding Costumes For A Series [“Pie-Lette”] (Mary Vogt, Costume Designer; Stephanie Fox-Kramer, Costume Supervisor)
Outstanding Directing For A Comedy Series [“Pie-Lette”] (Barry Sonnenfeld)
Outstanding Hairstyling For A Single-camera Series [“Smell Of Success”] (Daniel Curet, Department Head Hairstylist; Yuko Tokunaga-Koach, Key Hairstylist)
Outstanding Lead Actor In A Comedy Series (Lee Pace)
Outstanding Makeup For A Single-camera Series (non-prosthetic) [“Dummy”] (Todd A. McIntosh, Department Head Makeup Artist; David De Leon, Key Makeup Artist; Bradley M. Look, Additional Makeup Artist)
Outstanding Prosthetic Makeup For A Series, Miniseries, Movie Or A Special [“Smell Of Success”] (Todd A. McIntosh, Department Head Makeup Artist; David De Leon, Key Makeup Artist; Sara De Pue, Additional Makeup Artist)
Outstanding Music Composition For A Series (original Dramatic Score) [“Pigeon”] (Jim Dooley)
Outstanding Picture Editing For A Comedy Series (single or Multi-camera) [“Pie-Lette”] (Stuart Bass)
Outstanding Supporting Actress In A Comedy Series (Kristin Chenoweth)
Outstanding Writing For A Comedy Series [“Pie-Lette”] (Bryan Fuller)

In addition, Lost Find 815 and The Heroes Digital Experience also found themselves among the finalists in the Interactive Media Programming (Fiction) Juried Area, where “one, more than one or no award can be given.” (Other Fiction finalists included HBO Voyeur, Kyle XY: The Collective Experience, and The L Word Interactive.)

Now, while I’m happy for the whopping dozen nominations Pushing Daisies racked up (for a truncated season that lasted all of nine episodes, mind), I am still distressed at the distinct lack of love Emmy has perennially shown for Battlestar Galactica.
Not only were all the performers roundly ignored, but the tremendous work Bear McCreary has been doing in scoring the show also went unacknowledged.
Sigh.

At any rate, congratulations to all the nominees, a complete list of which you may find here.
The 2008 Primetime Emmys will be handed out on September 21 at the NOKIA Theatre in Los Angeles, while the Primetime Creative Arts Awards will be presented on September 13, also at the NOKIA.

Parting shot: Episodic reactions/recaps of Battlestar Galactica, Chuck, Dexter, Entourage, Heroes, Lost, and Pushing Daisies—as well as a review of the Battlestar Galactica straight-to-DVD film Razor—can be found in the Archive.

(Images courtesy of SCIFI Channel and wired.com [Battlestar Galactica]; aintitcool.com [Chuck Season One and Pushing Daisies Season One DVD cover art and Justice League: The New Frontier image]; rickbrotherton.com [Dexter]; hbo.com [Entourage]; NBC and yahoo.com [Heroes]; ABC and eonline.com [Lost].)

AFTERTHOUGHTS (50)
THE BEST OF THE VES 2008

And while Sunday night meant the BAFTAs for British film geeks (see Afterthoughts (49) in the Archive), over in La-La Land, American film geeks looked to the Kodak Theatre, where the 6th Annual VES Awards took place.
This year, the Visual Effects Society favoured Michael Bay’s Transformers with four awards, including the big one, Outstanding Visual Effects in a Visual Effects Driven Motion Picture.
Beyond Transformers though, the win that really made me go “Woot!” was…

Battlestar Galactica: Razor:
Outstanding Visual Effects in a Broadcast Miniseries, Movie or Special (Mike Gibson, Gary Hutzel, Sean Jackson, Pierre Drolet)

But, just for the record…

Transformers:
Outstanding Visual Effects in a Visual Effects Driven Motion Picture (Scott Farrar, Shari Hanson, Russell Earl, Scott Benza)
Best Single Visual Effect of the Year [Desert Highway Sequence] (Scott Farrar, Shari Hanson, Shawn Kelly, Michael Jamieson)
Outstanding Models or Miniatures in a Motion Picture (Dave Fogler, Ron Woodall, Alex Jaeger, Brian Gernand)
Outstanding Compositing in a Motion Picture (Pat Tubach, Beth D’Amato, Todd Varizi, Mike Conte)

Additionally, the award for Outstanding Animated Character in a Live Action Broadcast Program or Commercial went to Nicklas Andersson, Mike Mellor, Sylvain Marc, and Florent DeLa Taille, for the Fatlip shots in Chemical Brothers – Salmon Dance.
Not exactly sure what that is, but hey, it’s the Chemical Brothers…

Steven Spielberg was also honoured with the VES Lifetime Achievement Award, for “the contribution that his vast body of work, as both a director and producer, has made to the art and science of visual effects.”

On the downside though, I’d just like to say it’s such a sad thing that not only did Zodiac get no love from the Oscars this year, but VES passed it over too.
Zodiac was up for Outstanding Supporting Visual Effects in a Motion Picture and Outstanding Created Environment in a Live Action Motion Picture (for Washington and Cherry), but lost out to Ratatouille and Pirates of the Caribbean: At World’s End (for The Maelstrom) respectively.
It’s pissy since David Fincher’s use of visual effects in Zodiac is so seamless, it’s practically invisible. I guess VES gave him an invisible award too…
Don’t worry, Mr. Fincher, the Iguana luvs ya…

For a downloadable PDF of the complete nominee list, go here, and to see a complete list of the winners, go here.

Parting shot: Reviews of Razor, Transformers, and Zodiac can be found in the Archive.

(Battlestar Galactica: Razor DVD cover art courtesy of amazon.com; Transformers OS courtesy of wildaboutmovies.com; and Zodiac OS courtesy of impawards.com.)

BATTLESTAR GALACTICA:
RAZOR
(Review)

I’m honestly not sure if I’ve said this ‘round these parts before, but I honestly find it a strange and wonderful thing that the one television show I’m into at the moment that has the most relevance to the post-9/11 world I actually live in is the show that’s not even set on this planet, the show that takes place in the deeps of outer space, which boasts spaceships and killer robots.
I am, of course, talking about Ronald D. Moore’s redux of Battlestar Galactica, and with the fourth and final season on its way, Moore and company decided to produce the feature-length Razor, which was broadcast on the SciFi Channel, then subsequently released on DVD.

Kicking off with a montage of scenes from past BSG episodes which take us from the Galactica’s initial discovery of the ill-fated Battlestar Pegasus, on through the deaths of three of its skippers (Cain, Fisk, and Garner), till it gets Lee Adama at its helm, Razor quickly settles down to its narrative’s “present,” which sees Lee re-organizing the Pegasus under his command.
We then cut back and forth between that present, and Razor’s other main timeframe—ten months earlier, where we witness what Admiral Cain (a thoroughly magnetic Michelle Forbes) had only previously recounted in the BSG episode, “Pegasus”: how the Pegasus survived the initial Cylon surprise attack, and the events on-board in the aftermath of the attack. (There are also brief jaunts to two other timeframes—the first 41 years earlier, where we see the tail end of the Razor webisodes, as a young William Adama stumbles on a Cylon secret; the second depicting an event also mentioned in “Pegasus”—but for the most part, we shuttle back and forth across that 10-month divide.)
Serving as the narrative bridge between those timeframes is Kendra Shaw (Stephanie Chaves-Jacobsen, from TV’s Home and Away), who comes on board the Pegasus on the day of the attack, and through the catastrophic trial-by-fire, becomes a kind of protégé to Cain. Ten months later, she is chosen by Lee to be his X.O.
Given her function as the bridge, Shaw becomes Razor’s main focus, and the means by which the narrative explores its main themes: the difficult choices that are made in times of war, and whether the cold, inhuman mask worn by the military during wartime is indeed a necessary evil.

Despite the narrative focus on Shaw though, we do get to have the father and son Adamas, as well as some Starbuck, some Roslin, and very briefly, some Cylon Sharon.
Razor also gives us back some of Pegasus’ dearly departed, notably, Cylon Gina. One of Razor’s most provocative elements, in fact, revolves around the reason for Cain’s cold and brutal treatment of Gina (as seen in “Pegasus”).
We also get to see some old school toaster Cylons (yahoo!), and that tantalizing climactic reveal regarding Starbuck and her so-called “destiny.” (Of course, admittedly, the source is suspect; this wouldn’t be the first time a Cylon distorted the truth—or outright lied—to confuse and mislead. Still, the claim must give one pause, considering Season 3’s finale shows us Starbuck telling Lee she knows where Earth is, and she can lead the fleet there…)

Now if all this is a bit heady for the uninitiated, yes, Razor may very well be a load of gobbledygook for anyone who’s never seen a BSG episode before. But take my word for it, the show is most definitely about something. This is science fiction with substance, timely and mature, which is a whole lot more than can be said for your average Hollywood SF.
So if you haven’t yet been immersed in the world of BSG, the three previous seasons are all available on DVD, so get on out there, check them out, then catch Razor, so all the above will make sense.
And if you’re already strapped in for the BSG ride, then you know exactly what I mean, and you’ve probably already seen Razor.
And like me, you’re also probably chomping at the bit to see Season 4.
Well, not too long left to go.
Now if only the Lords of Kobol would see fit to have the WGA strike reach a quick and fair resolution, so we can all see those final 20 episodes sooner rather than later.
So say we all.

(Battlestar Galactica: Razor DVD cover art courtesy of amazon.com; image courtesy of ew.com.)