![]() so I was like, “What's going on here?” Because what was great about the original was every week was a standalone, you know, ethical, moral or comedic episode, and they were like, “That's exactly what we're doing.” Then, when the musical came up, I was just…I don't know how I can pitch myself too hard for that. My first meeting, though, I was like, “Look, there's Discovery, there's Picard…how many versions of Star Trek can there be?” Because Strange New Worlds Season 1 hadn't dropped yet. It was just a blessing that it was the right place at the right time with my background to sort of convince them to come aboard for this. I was just really excited to meet new people. But with the pandemic, all those deals sort of went away because nobody knew when we were gonna work, and certainly not getting on planes, so this was part of just sort of a reboot. for five, six years, so I was doing all the DC properties there, and then I'd venture out and do, like, Blindspot and Prodigal Son. I had been under contract with Greg Berlanti and Warner Bros. You mentioned being a fan of The Original Series what was your relationship with Star Trek, in general, before signing on?ĭOWNS: Well, I had not done any of the shows. Until you have the Klingons, who are literally ashamed of what this has made them do when they've K-popped their way in a musical showdown with the crew.ĭOWNS: Yeah! There was another version because there were some people that were like, “This may be a bridge too far,” but we were like, “Okay, we're all running to the bridge to hold hands in a line, like, there's no bridge too far.” So yeah, I mean, I think as we were shooting, it was all very aware it was gonna be Klingon K-pop. Once you get that sort of status report, the more the music becomes a virus in the ship, and within them, they're singing their biggest fears. The script was so sophisticated and great and grounded for even taking a flight of fancy and doing an hour of musical television because, you know, everybody's singing what they can't say. So, by the time I did Flash, it was like, “Oh my god, it's the hybrid of everything I love doing,” but this was like a whole new level. I was a childhood actor before I became a cinematographer and then did years of music videos. I'm in this business because I memorized the songbook to Oliver Twist at seven. ![]() So I was just like, “Well guys, let me give you my two cents.” When I first met Secret Hideout about this, there was a sitcom-influenced episode, so like a three-camera comedy, and then there was the musical. It’s such a treat to be able to revisit one of my childhood favorite shows. What was it like to take on that task that you seem almost destined for?ĭERMOTT DOWNS: I love the original, and if you had told me that I was gonna get to beam Captain Kirk onto the Enterprise, and in this he's coming to visit - yeah, I would have been just floored. This is the first musical episode in Star Trek 's 60-year history. He also just finished directing and producing Season 1 of Fire Country and spoke briefly about what fans can expect from Season 2.ĬOLLIDER: You have quite a history with television and music you've worked on various series and music videos, and this isn't even your first musical episode of television, though I do think this is my favorite. Downs also discussed what it was like to piece together that final number, drawing inspiration from Queen and K-Pop, finding the balance between drama and comedy, and what type of Star Trek episode he'd like to direct in the future. During our conversation, we discussed the strength of the script written by Dana Horgan and Bill Wolkoff as well as the range of the music and lyrics written by Kay Hanley and Tom Polce. To celebrate the groundbreaking new episode I sat down with the director of the episode, Dermott Downs to discuss bringing "Subspace Rhapsody" to life.
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