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From Wikipedia, the free encyclopedia

Brannon Braga
Brannon Braga WonderCon 2015.jpg
Braga at the WonderCon in April 2015.
Born (1965-08-14) August 14, 1965 (age 54)
Bozeman, Montana, United States
OccupationTelevision producer, screenwriter

Brannon Braga (/ˈbrɑːɡə/; born August 14, 1965)[1] is an American television producer, director and screenwriter. He served as an executive producer on the Fox primetime series, Cosmos: A Spacetime Odyssey, a re-launch of the 1980 miniseries hosted by Carl Sagan for which Braga won a Peabody Award,[2] Critics Choice Award,[3] and Producers Guild Award.[4] In addition, Braga has been nominated for three Emmy Awards. Braga also served as writer, executive producer, and co-creator of the drama series Salem, WGN America's first original series.

Best known for his work in the Star Trek franchise, Braga was a key creative force behind three of the franchise's five modern series. He later became an executive producer and writer on several Fox shows including 24, Terra Nova, and The Orville.[5] His film credits include Mission: Impossible 2, Star Trek Generations and Star Trek: First Contact.[6]

YouTube Encyclopedic

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  • ✪ TrekCore Interviews Brannon Braga, Part 1
  • ✪ Salem Creators Adam Simon & Brannon Braga Talk Season 1 & 2
  • ✪ Brannon Braga Interviewed on Enterprise set

Transcription

TREKCORE: How did you get the gig on the Next Generation? BRAGA: It was a matter of being in the right place at the right time. I had just finished school at UC Santa Cruz, and I got an internship through the Academy of Television Arts and Sciences; that's the organization that puts on the Emmy Awards and is kind of the keeper of all things television in Los Angeles, kind of like the Academy is to the Academy Awards. They have a superb internship program and I got one in there, screenwriting. And they sent me on to... there were two screenwriting internships that year. One went to some sitcom that lasted for about six episodes, and one was on a show called Star Trek: The Next Generation. My counterpart intern went this way, I went this way, and I got the luck of the draw and ended up on Next Gen at a time of transition, where Michael Piller was running the show, and Ron Moore was the only writer he had on staff. A quiet place. Piller was writing 'Best of Both Worlds, Part II', that's the time, when I came in... I did my internship and never left. And I remained there for seventeen years. TREKCORE: Writing for Star Trek: The Next Generation is, obviously, something you have to get used to over time and have much experience doing were you familiar with The Next Generation before you came on board? BRAGA: My experience with Star Trek was limited. In school - in grade school, middle school, and high school - there were the fantasy... ...the Dungeons and Dragons guys; there were the Star Trek dudes; and there were the horror guys. I was part of the Stephen King set. Fantasy and sci-fi... I would end up getting into sci-fi big time once I hit college when I really started reading hard science fiction novels, and just went crazy for the genre. But I was more into Twilight Zone and horror, and the Star Trek guys were going to conventions - primordial conventions - and reading things like "Spock Lives!" in paperback. I didn't get it. It wasn't my bag. I didn't get into Star Trek until I watched The Next Generation when it first came out. I was one of those people who said, "You know what? Maybe, because I can get in on the ground floor for something I'll try this Star Trek out." And it wasn't my bag again. I wasn't quite sure how I felt about The Next Generation. By the way, this is a story I think a lot of people will tell. I didn't quite get it; I wasn't sure about Data, an android named Data, are you kidding me? It just seemed childish even to me, at age twenty-one. Then, a couple years went by. So I didn't really... I watched the first episode with those aliens with the sticks... it just was like, "This isn't good." It confirmed my reservations about Star Trek. But a couple years later, I was in college at UC Santa Cruz, and someone said, "You need to watch The Next Generation. It's good." And I suspect that was not an uncommon experience. And they were right. I started watching the show, and it was a stark difference. The writing was so good. I can't remember the first episode I actually watched... It was a Geordi episode, with Worf supposed to give part of his blood or something to a Romulan, and he refused. The guy dies, and Picard is pissed off... I'm like, "This is good stuff!" This was not like the NextGen I first watched. And then, when I got the internship on Next Generation, I was into it. I was into Next Gen. That was a long answer. TREKCORE: So, you were obviously prepared to write for it at that stage? BRAGA: I was not prepared to write for it. TREKCORE: But you were into it? BRAGA: I was into it; I knew the characters. TREKCORE: You've confessed that a lot of people see you as somewhat of a 'hack' with certain topics, like time travel or the Borg. There are these rabid fans who somehow got this opinion about you. But in The Next Generation, certainly, these topics produced amazing episodes. "All Good Things...", "Cause and Effect"- these fantastic episodes Why do you think that some fans seem to accept those episodes, but not other episodes which you're still equally proud of, from, say, Voyager or Enterprise? I did some great... we broke new ground on Next Generation, from a storytelling perspective. I mean, the stuff that we did, structurally - like with "Cause and Effect" - was so new that viewers were calling the TV stations thinking something was wrong with the broadcast. That, nowadays, is completely different. People accept that kind of storytelling as part of our vernacular. It was wild. It was like the Wild West back then. We were breaking a lot of rules, and I think... some unpleasant fans I've read, will go online and say, "If you really work at Braga's early work, that sucks too." I kid you not. So there's some revisionist people. Anyway, who knows - they may be right, I haven't seen those episodes in so long. TREKCORE: No, trust me - they're still good, Brannon. BRAGA: I think some of the stuff we did on Voyager was even more sophisticated from a storytelling point of view. "All Good Things..." was just the beginning for me, I was just getting going. I wasn't done! I really got into the stuff on Voyager. I honestly look at some of these Voyager episodes that I'm enormously proud of, like "Timeless", the hundredth episode of Voyager. TREKCORE: Huge, huge. BRAGA: That's a time travel episode; it's relatively simple, but it's filled with striking imagery and character moments. The image of a frozen ship is just perfect... TREKCORE: The opening shot before the credits where it pans up... BRAGA: Yeah. If that had been a Next Generation episode, it would be a classic. It would be 'one of the good ones.' I think a lot of it has to do with the crew. A lot of it has to do with it just being a different show, or maybe just being around too long. I stand by the body of work on Voyager as much as I do - if not more so than The Next Generation. TREKCORE: Well, "Timeless" was brilliant. The emotional impact of hearing Janeway's last log; just filled with, actually, the kind of same moments that the new film had, the emotional resonance of that first scene with Kirk. I mean, you're still writing time travel stories - you mention you're doing a comic. What do you think it is that time travel, emotionally or intellectually, brings to a story that makes it something you keep writing and going back to? You must feel very passionate. BRAGA: I was never interested in time travel in terms of it's mechanics. It's mechanics can be a bit of a headache. It's emotion. You can get... you can put a character through an emotional trial and take them to places to you can't otherwise. I look at "All Good Things..." which was a very ambitious piece of time travel, but if you really look at it it's... if it was a novel, or even... if you took the time travel out, it could just be a story that happened to take place in the beginning, middle, and end of someone's life. And I'm sure novels like that have been written; stories like that have been written. If you simply say, "This isn't literal; this is just the way we're telling the story", you think to yourself, "Well, what's the big deal?" It's not until you literalize it that you take it to the next level, and you say the person is experiencing this. Then it becomes emotional, times ten. Does that make any sense at all? TREKCORE: Yeah, I think so. I think once you moved on from The Next Generation to Voyager, there was some fans who went the Deep Space Nine way, some fans went the Voyager way. What are your feelings about Deep Space Nine? I don't think I've ever heard your thoughts on the series. Have you seen it all? BRAGA: Of course I've seen Deep Space Nine. I was very aware of Deep Space Nine. The writers worked in the same building. We saw each other every day. There was some cross-pollination; I wrote a couple of Deep Space Nine scenes with Bashir, in an episode called "Birthright" in The Next Generation. So I actually... the only character I've ever written for DS9 was Bashir. But Ron and I, you have to remember, Ron Moore and I were working very closely on the movies at that time, so he always knew what I was doing, and I always knew what he was doing. He was always writing a Deep Space Nine script, and I was always writing a Voyager script. We talked all the time; we cross-pollinated I thought Deep Space Nine was terrific. Again, I will say there are episodes of that show like "The Visitor" that are considered classics, but, for some reason, aren't neccessarily spoken in the same breath as some of the Next Generations. But that's because it was a newer thing. TREKCORE: Do you think that Deep Space Nine, in a way, enjoyed more liberty being in syndication, whereas Voyager was confined to this network so you had the network bosses dictating a large amount of what you can and cannot do? BRAGA: I don't think Deep Space Nine benefited from being in syndication. I mean, I can't say for sure, I would say Deep Space Nine benefited more from being third. Being the third series, and there it was... but then Voyager came along, and it was almost like - it's hard to describe. they started to experiment with serialized storytelling. Stuff that for some reason, they just got away with; that they were able to do. because they were... maybe they almost HAD to do something. They had to set themselves apart, somehow. I don't know. I wasn't in the writers room. Personally, with Deep Space Nine, I don't think Voyager should have come on the air so quickly. I think Deep Space Nine should have been on its own for a while. TREKCORE: Do think it was pushed out too fast? BRAGA: I think it was, for want of better words, I think they were just kind of laying low and doing their thing, those Deep Space Nine guys. They quietly built an amazing television show. In some ways, I suspect, maybe Rick Berman was more focused on other things, and they just were able take bigger risks than we were.

Contents

Career

Braga started out as an intern on Star Trek: The Next Generation in 1990 as part of the Television Academy Foundation's Internship Program, eventually becoming an executive producer. He was part of the creative team nominated for a Primetime Emmy Award in 1994 for Outstanding Drama Series, and won the Hugo Award for Best Dramatic Presentation in 1995 for his work on the series finale, "All Good Things..." along with longtime collaborator Ronald D. Moore. His credits on that series include a number of popular episodes including "Cause and Effect", "Frame of Mind" and "Parallels".

He then joined Star Trek: Voyager as a producer and was tapped to serve as executive producer the following year. He served as showrunner for Voyager until the end of the sixth season when he moved to Star Trek: Enterprise. He teamed up with Moore to write two Star Trek feature films – Star Trek Generations and Star Trek: First Contact. They would also later develop the Mission: Impossible 2 screenplay. He went on to co-create Star Trek: Enterprise and led that series as executive producer until its fourth and final season.

Before the cancellation of Star Trek: Enterprise Braga co-created the CBS science fiction drama series Threshold, he was brought on as an executive producer and writer on the Fox series, 24, penning episodes in the seventh and eight seasons. He was also an executive producer and writer on the 2009 ABC science fiction series FlashForward.

While at the helm of Terra Nova, Braga was approached to co-write a four-part comic book series Star Trek: The Next Generation: Hive for IDW, which made its debut in 2012.

Braga was the producer and one of the directors of the 2014 science education series Cosmos: A Spacetime Odyssey, a sequel to the 1980 series Cosmos: A Personal Voyage that was hosted by Carl Sagan.[7] The project saw Braga collaborating with the original series' writer and Sagan's widow, Ann Druyan, executive producer Seth MacFarlane and host Neil DeGrasse Tyson. The 13-episode series premiered March 9, 2014,[8][9] and received mostly positive reaction from critics and viewers.[10] Braga was nominated for an Emmy for his work on the show.[11] The following month saw the premiere of the historical fantasy drama television series Salem, which Braga co-created with Adam Simon, and on which he serves as one of the executive producers.[8] in 2014, he directed the Marilyn Manson music video "Cupid Carries a Gun" off The Pale Emperor album.[12]

Braga is one of the producers of The Orville, a 2017 science fiction comedy-drama inspired by Star Trek. He also directed several episodes of the series.

Personal life

During production of Star Trek: Voyager, Braga dated star Jeri Ryan for a couple of years after she joined the cast in the fourth season.[13] Between February and November 2000, they were stalked by Marlon Estacio Pagtakhan, who was convicted for harassment and threats in May 2001.[14][15][16]

Filmography

References

  1. ^ Blackwell, David (Summer 2006). "Movies Made in Montana". Distinctly Montana. Archived from the original on March 23, 2012. Retrieved September 3, 2011.
  2. ^ "COSMOS: A SpaceTime Odyssey". Peabody Awards.
  3. ^ "Critics' Choice Television Awards". Los Angeles Times.
  4. ^ "PGA Awards: 'Birdman' Wins Top Film Prize, Breaking Bad Takes Drama Trophy & Orange Is The New Black Nabs Comedy". Deadline Hollywood. January 25, 2015.
  5. ^ Ausiello, Michael (April 20, 2010). "Exclusive: Kyle Chandler eyed for dino-mite Fox drama". Entertainment Weekly. Archived from the original on April 23, 2010. Retrieved May 28, 2010.
  6. ^ "COSMOS: A SPACETIME ODYSSEY" (PDF). Jan 1, 2014. Archived from the original (PDF) on 2015-09-24.
  7. ^ "Q&A: Executive Producer Brannon Braga talks "SALEM"". Archived from the original on 2015-04-02. Retrieved 2015-03-26.
  8. ^ a b Phillips, Jevon (February 27, 2014). "Brannon Braga talks new TV treks with series 'Salem,' 'Cosmos' reboot". Hero Complex. Los Angeles Times.
  9. ^ Bell, Josh (September 12, 2012). "Brannon Braga Returns to 'Star Trek' with 'Star Trek: The Next Generation: Hive'". Comic Book Resources.
  10. ^ "Cosmos: A Space-Time Odyssey : Season 1". Metacritic. Retrieved August 28, 2014.
  11. ^ "Brannon Braga Inks New Overall Deal With 20th Television". The Hollywood Reporter. September 11, 2014.
  12. ^ Marilyn Manson's The Pale Emperor Streaming In Full
  13. ^ Tyler, Aisha (July 3, 2013). "girl on guy 100: jeri ryan". Aisha Tyler. 45:47 mark. Retrieved August 29, 2014.
  14. ^ Manekin, Michael (August 24, 2007). "'Star Trek' stalker may not be fit to stand trial". East Bay Times (was Oakland Tribune). Archived from the original on 2016-07-22.
  15. ^ "Cyberstalking garnering more serious response". USA Today. Associated Press. June 29, 2001.
  16. ^ "Trek Beauty Terrified". Fox News Channel. January 19, 2001.

External links

This page was last edited on 29 January 2020, at 22:27
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