Bates is the mighty good looking but often crotchety sgt. with whom Teyla, in particular, does not get along. Or, more accurately, he does not get along with or trust Teyla much.
Boxed Set, Vol. II: "It's a Cookbook...A Cookbook!!"
A topic for the discussion of Farscape, Smallville, and Due South. Beware possible invasions of Stargate, Highlander, or pretty much any other "genre" show that captures our fancy. Expect Adult Content and discussion of the Big Gay Sex.
Whitefont all unaired in the U.S. ep discussion, identifying it as such, and including the show and ep title in blackfont.
Blackfont is allowed after the show has aired on the east coast.
This is NOT a general TV discussion thread.
I discovered that the lovely Philip Glass piano piece played in Kara's appartment was actually composed by Glass for that episode. Crap. That means I'll have to wait for the season 2 soudtrack to get a copy of that.
Really? Someone was saying it was "Metamorphosis One."
Yeah, that's it.
My iBook locked up and now I can't find the link where I read that.
No, really.
Here you go: [link]
Oh yeah, I found that. Was trying to figure out where I got the wrong info from: [link] (interview of BSG composer Bear McCreary - interesting).
I misinterpreted the following:
Bear: It's still pretty early to say. Season Two features the first piece of music written by someone other than me or Richard (or Stu Phillips' original BSG theme). I performed a solo piano piece composed by Phillip Glass for episode 02. Should be interesting.
Aah. So it's a cover!
I wonder why. For lower royalties?
I just listened to a downloaded clip of that song (Glass's version), after just having rewatched the ep, and I couldn't tell the difference.
So now I can buy the Glass album, as I don't own it (or if I do, it's on LP or tape, not CD).
eta: From the McCreary interview:
Obviously the score started with the ideas laid down in the 2003 miniseries by composer Richard Gibbs for whom I was working at the time. From there, I've had the opportunity to develop those concepts and explore them more thoroughly over the first 13-episode season. From the very beginning, the producers always wanted the music to be subliminal, psychological. In general, I try not to score specific action and moments, but rather concepts, story lines, character arcs - let the music speak for the subtext of the story and not necessarily the obvious actions happening on screen. They wanted to avoid the typical orchestral bombast of Star Trek and Star Wars so my challenge is to create a score that is emotional, subtle, at times grand and sweeping, all without the tried and true instrumentation of the "Hollywood Orchestra."
in'eresting....
For lower royalties?
The reverse, I'm sure.
Huh? I'm talking the royalties they'd have to pay Mr. Glass. Are you talking about the royalties they'd make on selling the CD?