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Interviews: Ask J. Michael Straczynski What You Will
He has written for many different comic book titles including Superman and The Amazing Spider-Man, and wrote the screenplay for the Academy Award-nominated movie Changeling, but J. Michael Straczynski (jms) is probably best known as being the creator, writer, and producer of Babylon 5. Recently, jms has teamed up with the Wachowskis and Netflix to create a new original sci-fi series, Sense8, coming out in late 2014. Straczynski has agreed to take a few minutes from writing sci-fi epics in order to answer any questions you may have. As usual, ask as many as you'd like, but please, one question per post.
Do you frequently brush up on physics or cosmology or some scientific field to keep your forward looking ideas sharp and in-line with current academic trends or do you simply rely on your imagination? Any academic journals you subscribe to looking for something to stimulate you into envisioning a future with an interesting twist? Is this common in the writing community or do I have the wrong image in my head?
My work here is dung.
Time travel is a sticky area in Sci-Fi stories and is so pervasive it has caught the eye of Chinese censors. Since H.G. Wells it's been a major staple of sci-fi movies and has become quite pervasive from fantasy books like Harry Potter to television series like Lost and Futurama. Even modern Sci-Fi stories like Stephen Baxter can still win awards for novels based on time travel. I'm not incredibly familiar with your work so I don't know if you've relied on time travel yet, however, I would like to hear your take on it. Is it a tired cliched mechanism that is overused or do you still find yourself thoroughly entertained with the possibilities it presents? If you wrote it, would/did you go infinite parallel universes or single universe with time travel paradox correcting crumple zones?
My work here is dung.
In your opinion is there anything we as viewers can do to get more quality sci-fi on TV and keep it there without being cancelled? It's always too expensive, takes a long time to gain a strong following and syndication, and then gets pushed out in favour of wrestling or some paranormal nonsense. We don't even have a proper sci-fi channel any more, despite there being literally hundreds of channels available.
I'd love to contribute to the funding of, say, more episodes of Stargate Universe, but at $2m/episode I just can't see how crowd funding would work.
Thanks for taking the time to answer our questions.
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SJW, n: "Someone I don't like, and by the way I'm a fuckwit" - AC
You've worked in television, what are the pros and cons in the deltas between Netflix and one of the big networks/cable goliaths? Do they still goad you into putting a cliff hanger at the end of the episode so the couch potato continues to veg-out and just hit 'play' on the next installment? Are you glad you don't need to plan for commercial bumps? Any dark sides to being paid by Netflix?
My work here is dung.
You were one of the first Hollywood writers with an online presence, hanging out in newsgroups during production of Babylon 5. My memories of that were tidbits and insights from you, along with frequent "no story submissions" reminders and threats of your departure if the story ideas didn't stop. How do you remember that experience? Was it worth the hassle? And do you view the seeming explosion of writers, directors, producers and actors on social media as a positive or negative for the industry overall?
Can you list any examples of shows that have changed your approach to Science Fiction since Babylon 5 was written? For example, the latent success of Firefly showed how smaller-scale science fiction can be effective. How have you been influenced by Firefly or any other show post-B5?
If asked, would you guest star on Big Bang Theory?
The trailers for the World War Z movie suggest that it is radically different from the source material. Most obviously that would be things such as the whole fast vs slow zombie deal but perhaps more importantly the focus appears to have turned on a single globetrotting protagonist in the thick of the action. What was your original vision for the script and why do you think it has turned out the way it has?