Seth Mac­Far­lane

OF ‘THE ORVILLE’ ON FOX

The Fresno Bee (Sunday) - - Ontv - BY JAY BOB­BIN

The ef­fects work, the time for the com­posers to write the score for the orches­tra, all of the time to put to­gether the ac­tion se­quences and the spe­cial-ef­fects se­quences ... it’s about twice the work that you do on a nor­mal hour-long show about lawyers or cops. There are things you learn ev­ery sea­son about how to make your job eas­ier. We learned a lot do­ing Sea­son 1, and we learned even more do­ing Sea­son 2. If there is a Sea­son 3, that will be an op­por­tu­nity to re­ally stream­line our process, but there are cer­tain things where you’re just bound by the re­al­ity of time and the phys­i­cal laws of the uni­verse. It takes the time that it takes. What did you think about the au­di­ence’s re­ac­tion to “The Orville’s” first sea­son? It was re­ally ex­cit­ing to see such a pos­i­tive re­sponse from the view­ers, and I think what they were re­act­ing to was the same thing I was set­ting out to ac­com­plish. There are a lot of great stream­ing shows, but I feel like al­most ev­ery hour-long show on tele­vi­sion – ex­cept for the pro­ce­du­rals – is se­ri­al­ized. It’s a soap opera, and the art of episodic sto­ry­telling is kind of gone in that for­mat. It used to be that the story dic­tated the tone, and I missed that. “Star Trek” had episodes that were very cere­bral and dark, then it had other episodes that were flat-out come­dies. There’s not one con­sis­tent tone in real life. You have a great day, then maybe you have a day when some­one passes away and you feel com­pletely dif­fer­ent. That’s how life works, and there’s no rea­son that episodic sto­ry­telling shouldn’t work the same way.

Did hav­ing more time to work on Sea­son 2 of “The Orville” be­fore it pre­miered help?

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