Alex Kurtzman Says ‘Section 31’ Writers Are Building ‘Very Surprising’ Star Trek Show – TrekMovie.com

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On Wednesday night, Alex Kurtzman made another virtual appearance to promote the Emmy nomination Star Trek: short hikes. During a Q&A with Variety, the man in charge of the Star Trek universe for CBS made a rare update on the Section 31 series, announced the hiring of a composer, spoke fan comments, and more.

Section 31 may not show what you think it is

During Q&A from the variety show room, Kurtzman was asked about the section 31 series in development, which hasn’t had many details since its announcement in January 2019. He said the origins of the series ‘show started with star Michelle Yeoh and went back to before Star Trek: Discovery even created in 2017:

The truth is, for section 31 the idea to do this show was Michelle Yeoh’s. She deserves all the credit for it. She told me about it before we even aired the first season of Discovery. She loved playing the character [Captain Phillipa Georgiou] and she said, “I know there are a lot of young women who grew up like me and haven’t seen someone like me on screen and I want to be that person.” And I said, “It sounds amazing!” Let’s do it. ”

But we didn’t know if people would like Discovery. We didn’t know if Discovery was going to work, at the time. And so I said, “Let’s see how it works, and if we can do it, let’s go. She killed him. She did an amazing job on the show. And then in season two, we really started digging into the mythology of Section 31, which had been covered in other shows. And we started to see a way to do it. And so we got there.

Michelle Yeoh as Philippa Georgiou and Alan Van Sprang as Leland in Star Trek: Discovery “Point of Light”

Recently, Kurtzman said that the drafting of the Section 31 series is underway. In Wednesday night’s variety Q&A, he offered more details on the status of the job:

Erika [Lippoldt] et Boey [Yeon Kim], who are two of our writers on Discovery, worked with Craig Sweeny, who was a writer we worked for a long time and he directed Unlimited for us. And they did an amazing job building the show. So I’m really excited to know where this is going. And I can’t wait to see Michelle in this part. And I think people are going to be very surprised at the world he occupies. We’ve seen things online where people have guessed certain things, but some are far from guessing them. So it’s pretty fun.

Section 31 shows screenwriters Bo Yeon Kim and Erika Lippoldt with Sonequa Martin-Green on the set of Star Trek: Discovery

Kurtzman’s comments on how the world occupies Section 31 will be surprising may refer to the setting for the upcoming series. One of the big questions about the series stems from how Section 31 Agent (and former Mirror Universe Emperor) Michelle Yeoh’s character Georgiou jumped into the 32nd century along with the rest of the Star Trek: Discovery crew for the upcoming third season. It was generally assumed that she would find a way back to the 23rd century to begin her own adventures in the Section 31 series. But maybe those assumptions are wrong and the show takes place at a different time or location.

Promotional image for the third season of Star Trek: Discovery with Anthony Rapp as Stamets; Michelle Yeoh as Georgiou; Mary Wiseman as Tilly; Sonequa Martin-Green as Burnham

“Q&A” composer hired to score an upcoming Trek series, possibly “Prodigy”

Discussing the Treks courts In the episode “Q&A”, Alex Kurtzman revealed that Nami Melumad, author of this short, has been hired as a songwriter for one of the Star Trek series in development:

So our songwriter, Nami is amazing, and actually was so good that we hired her to compose one of our Star Trek shows, and I won’t tell you which one it is, but she is going to compose one. of our Star Trek shows.

This hire would make Melumad the first female songwriter for a Star Trek series. The 32-year-old Israeli / Dutch composer already has a long list of musical credits, including Amazon series rating Absentia and the new HBO Max movie An American pickle. Kurtzman said when choosing composers for Treks courts, besides the one marked by Michael Giacchino, winner of an Oscar, he of course sought young composers “to give them a chance to see what they could do”.

In the case of the score for “Q&A” and how he incorporated the original theme into Star Trek, Kurtzman said:

Nami not only found an amazing way to touch the feeling you get from a great Star Trek score, which is that kind of wild exuberance and that joy and joy of discovery and the joy of science. And obviously, the original Alexander Courage theme is a touchstone for anyone who loves Star Trek

The idea was therefore to know how to touch the theme, give back to Caesar what belongs to Caesar, then give it its own sound. And Nami really found the joy. In fact, the piece she wrote the end credits parts of “Q&A” on is one of my favorite pieces for anything I’ve worked on in Star Trek.

As “Q&A” was a story set on Pike’s Enterprise, one would imagine that Kurtzman brought in Melumad to mark the upcoming series. Star Trek: Strange New Worlds, But there are other possibilities. She has also worked in animation before, so she may have been asked to compose the score for a CG animated series. Star Trek: Prodigy, which debuts on Nickelodeon in 2021. During the Comic-Con @ Home Star Trek Universe presentation in July, Melumad retweeted two tweets from the Prodigy executive producers and one of a Prodigy writer. And these are his only Trek-related tweets during the panel.

Composer Nami Melumad

Reading fan comments “hurts” and is “necessary”

When asked about fan chats online and on social media, Kurtzman confirmed that he stays on top of fan comments and sees it as an important part of the process, although at times it can be difficult to see the reviews.

Here is Kurtzman’s commentary on the fan comments in full:

I pay a lot of attention. And it took me many, many years to figure out why I had to do it, despite how uncomfortable it made me. Anyone who goes on the internet and reviews their work will see both people love it and people hate it. It’s just the nature of the Internet. And it’s very difficult not to take it personally.

At the same time, what I understood about Star Trek is that Star Trek fans have kept Star Trek alive for so long. It would have been canceled, and even after it was canceled, they kept it alive in syndication. And it always comes back to the fans, because I think the only two entities that really own Star Trek are Gene Roddenberry and the fans. The rest of us just wear it for a while.

And it’s okay to be a Star Trek fan is knowing that there will always be a debate about Star Trek. A fan will love it Traveler a fan loved it New deep space, a fan will hate Next generation, a fan loved Next generation. A fan loved it Picard, a fan will hate Picard. And so on. There is a real democratic quality to that, right?

You know people are going to watch it and they will have different points of view. And that doesn’t mean anyone is right. And that doesn’t mean anyone is wrong. Everyone has their own feeling about it. But listening to what people react to is so important to understanding where to go with it. I have a feeling that if you are at 50/50 you are doing fine. If you’re 90/10 and people hate 90%, you’ve got real problems. Fortunately, we haven’t been there yet.

But I know that is part of it. So once you accept that that’s part of it, it lets you read the reviews. And you can separate the criticism that is just “I hate everything” from “Actually, this person had some really valid points about why something wasn’t quite working for them. And that’s something to keep in mind for the next time we do something else in the world of Star Trek. So I see it as a learning tool. It hurts, and at the same time, it is necessary.

Easter eggs without fan service

Kurtzman also spoke about his approach to adding Easter eggs for fans to his Star Trek shows:

The fun thing about Easter eggs is that they are really great if they pay off satisfactorily and they are really disappointing if you just toss them in there. It feels like fan service which I think can have the opposite impact than you expect. I think fans don’t like you throwing things around to throw them away. They actually have to have meaning because these Easter eggs mean to them. So it’s always a challenge when you hit an Easter egg, and that’s to make sure there’s a reason for it.


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