Posted on 12/02/2002 11:04:08 PM PST by vikingchick
If you were assigned to make a fantastical 20-hour, 10-part series about alien encounters, you'd think you'd concoct the freakiest, funkiest extraterrestrials ever conceived.
Not so.
Not if you're making "Taken," the alien-abduction saga that premieres at 9 tonight on cable's Sci Fi Channel.
"Steven said we had to respect the lore," says Jim Lima, the project's visual-effects supervisor. "We had to be faithful to what was said the most by people who had encounters."
Steven is Steven Spielberg. He is not only one of the most powerful people in entertainment, but also the man who gave the world "E.T." and "Close Encounters of the Third Kind." The man who can green-light so many projects gave birth to this one four years ago. It's on cable because no network could commit such a massive chunk of its prime-time schedule.
Because of Spielberg's decree, the aliens in "Taken" are rather standard issue: gray, about 4 feet tall, long fingers, skinny bodies, oversized heads with huge black, almond-shaped eyes. Spielberg scored with the acclaimed World War II miniseries "Band of Brothers" on HBO, and now he's out to see if an audience will stay with 10 two-hour, movielike episodes over two weeks.
The series follows three American families - the Clarkes, Keys and Crawfords - over four generations, from 1945 to the present day and slightly beyond.
It pays homage to major alien encounters reported in America's postwar history, including the most pivotal event: the supposed crash of a spaceship near Roswell, N.M., in July 1947.
"It's the coolest thing that I've ever seen," says Tobe Hooper of the series. Hooper directed the pivotal first episode (each episode has its own director). Hooper knows about "cool," not to mention strange, having directed "The Texas Chain Saw Massacre" and "Poltergeist" (co-written by Spielberg).
Although it was up to Hooper to integrate "the grays" into the story, it was the Earth-bound humans who received most of his attention. The director said he was hooked because the story was so character-driven.
"I liked that it wasn't sci-fi-y," he says on the phone from his home in Southern California. "It was like the real thing."
The real thing begins in the skies over Germany during World War II. Capt. Russell Keys (Steve Burton) is leading an Allied bombing mission. His bomber gets hit and is headed down in flames but is saved by some mysterious blasts of blue light. He and his crew are mysteriously healed and wake up in a field in France. But who really saved them and what was done to them after they were "taken"?
Keys returns home to a sepia-toned America to reunite with his parents and his best girl, something out of "The Best Years of Our Lives."
"I tried to give the characters that subtext, to give it that Norman Rockwell feel," says Hooper.
Hooper said no expense was spared.
"We had 60 locations and more than 60 actors. I had every lens, every cinematic toy," he says. And he had Lima.
The visual-effects guru, who had worked previously with Spielberg in television on "SeaQuest DSV" and "The Others," also had created outer dimensions for films such as "Space Jam" (he also designed the Green Goblin for "Spider-Man.")
"It was like doing 10 movies," says Lima on the phone from his home in Pacific Palisades, Calif. "We had 16 months of production. In my earliest discussions with Steven, he explained that science fiction is 'Minority Report.' Science mythology is UFO sightings, close encounters of the first kind." (Close encounters of the second kind are defined as physical evidence; close encounters of the third kind are alien sightings.)
Lima used a cavalcade of computer-generated digital tricks; there are no puppets or animatronics. But there is a human element. He took a digital photograph of his wife's eye, enlarged it, stretched it out, colored it and used that for the aliens' eyes.
"The iris is still in there," says Lima. "I wanted to show thought, to have these digital characters show emotion."
The grays also can take human form and read minds.
If "Taken" is groundbreaking for its length and visual effects, it also must set some sort of record for script-writing. Les Bohem wrote the entire 20 hours. A former member of the band Sparks, Bohem ("Dante's Peak") emphasizes the human relationships and family interplay.
The ensemble cast includes Catherine Dent, Joel Gretsch, Eric Close, Ryan Hurst, Matt Frewer and Michael Moriarty as the stern colonel who covers up the initial Roswell crash in tonight's episode. Some characters span several nights. Eight-year-old Dakota Fanning (the daughter in "I Am Sam") narrates all 10 episodes and appears in the final four.
Her voice is at once innocent and filled with wisdom.
"It's very much 'To Kill A Mockingbird,' " says Hooper. "It has that sensitivity, that kind of elegance."
As for the phenomenon itself - the long lists of people who claim to have been abducted, poked and prodded by aliens and returned to Earth - Hooper says he has studied it more than half his life. He finds it valid.
"I'm definitely a believer," says Hooper. "There's something out there."
To reach this Plain Dealer reporter:
coconnor@plaind.com, 216-999-4456
Interesting. Maybe there are the 'good' aliens and the 'bad' ones. The good ones want to help us, and the bad ones want to probe our bodies and put implants in our heads.
The series is fictional handling of recorded factual information of a fantastic nature, but it's being handled in a turgid manner.
Unless you believe in a massive world-wide conspiracy of government coverups, I do not see any evidence of "tagging", as if the ALFs are practicing "catch & release".
Unless the ALFs are doing it for environmental monitoring, I would suspect that they can clone previous "samples", obviating the need for continually revisiting this planet.
And speaking of Art Bell, he has Steven Greer on tonight.
Still, there is that nagging serendipity of the timing of that "Fire in the Sky" abduction.
Not to mention symmetry. Handy for clothing (shelter), and tool development.
There are only so many good pickup lines...
;^)
Speilburg must have paid off the critics to keep their mouths shut. This show is really BAD.
sw
Then, you get to procreate with the hottest alien babes they have (vavavavoom!) while the guy aliens film it (I've asked for distribution rights in the Milky Way and a 5% up front deal). Afterwords, we all sit around and have a drink with the Captain and play Space Invader on their video screen.
Next thing I know I'm back on earth (they usually plop me back down into a men's room at the GreyHound Bus Station - don't know why!?) and I find myself chomping-at-the-bit to go back again.
But seriously, you have to admit it was pretty neat when the Colonel pumped a slug into his drunk wife while she's lying on the road. I mean you can't see that kind of thing on Bachelor 2!
That whole "you are the sun and the moon to me" totally grosses me out too. He even said it to his kids when he told them about their mother's death. Crawford is the single most disingenuous character that comes to recent memory.
Last night, a lot of things about Crawford's character came together...I was sad that his son, Sam, died (although I wonder if he actually did?...hmmm.) but it makes perfect poetic justice sense that he did. And I'm very interested to see how Eric's character shapes up...he is exactly like his father!...but definately more snot-nose...you just wanna smack him.
You know what else I like, Spectre? When the little girl sort of rattles off those mini poems at the beginning and the end of the movie...it adds a sort of a whimsical cohesiveness to the story.
How 'bout Jesse?!? It'll be interesting to see what they do with his character. Ack!
Best Regards,
Best Regards,
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