Sunday, July 19, 2015

Facebook

Bradburymedia has been a little quiet of late, for which I apologise... but if you are feeling deprived of news and insights on all things Bradbury, please make sure you visit the Center for Ray Bradbury Studies on Facebook.

I maintain the Facebook page in my role as "Senior Advisor" - and tend to make short quick posts there several times a week. Often it will be for posting links I have found to other resources, the kind of thing that isn't quite substantial enough to warrant a full blog post. Recent posts include details on August events to celebrate what would have been Ray's 95 birthday, and an obituary for the sculptor who created Disney's animatronic Abe Lincoln (the inspiration for Ray's short story "Downwind from Gettysburg").

And for those of you who avoid/despise/detest/don't understand Facebook, I should point out that the page is public. You don't need a Facebook account to view it. (But if you are a Facebook user, we would welcome a "like" from you, if you haven't already "liked" us.)

Join us here:https://www.facebook.com/pages/Center-for-Ray-Bradbury-Studies/766546360037269



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Wednesday, June 03, 2015

The Whispers - Premiere Episode

The Whispers - ABC's new SF drama series based on Ray Bradbury's "Zero Hour" - premiered on Monday. According to Variety, it got reasonable ratings, so I assume its future on primetime US television is assured for the time being.

The opening episode had some strong behind-the-scenes talent attached. Writer-producer Soo Hugh has been associated with Under the Dome. Not the greatest series of all time, but one which at least is sometimes able to sustain some mystery and suspense. Co-director Mark Romanek made the admirable Robin Williams film One Hour Photo, although his career since has never quite matched up to that early work.

Because of the Under the Dome connection, I half-expected The Whispers to be full of artificial suspense, shocks and surprises. Instead, it had multiple plot threads which started out independently but turned out to be connected. Nothing earth-shattering, but not bad TV plotting, especially in setting up what I assume might be a five-year series if those ratings hold up.

Not surprisingly, the show very quickly diverges from Bradbury's original story. However, what Bradbury-derived material there was seemed quite fine to me. There were the kids taking instruction from Drill, the parents talking on the phone and not quite paying enough attention to the kids - this taken directly from "Zero Hour". The mother at the beginning of the episode who died falling through the treehouse reminded me of another Bradbury story, "The Small Assassin", where a baby causes a mother to fall downstairs and die. Then there was the beardy guy in the hospital, who was covered with tattoos. Ah, Soo Hugh read "Zero Hour" in The Illustrated Man, I thought to myself. There's even one sequence which has visual echoes of "The Screaming Woman" from Ray Bradbury Theatre.
 
Of course, for every Bradbury element, this Amblin Entertainment production also had a Spielberg element: the kids, of course, plus the toys that take on a life of their own, and the mystery-object-found-in-the-desert (how could it possibly have got here?) - this could have been Close Encounters, or ET, or Poltergeist.

Overall, though, it was far better than I feared, and good enough to make me want to see more. I didn't care for the deaf kid (unconvincingly written and performed), and the mystery-object-found-in-the-desert (how could it possibly have got here?) was visually underwhelming. But otherwise, good stuff. I doubt there will be any Bradbury after this first episode, though.

One thing struck me as odd. There wasn't any credit to Bradbury on-screen anywhere that I could see. I imagine this is a contractual matter between ABC and the Bradbury estate, and it's none of my business. But if I were Don Congdon Associates, I would have insisted on a "based on a story by Ray Bradbury" credit at the head of each episode.
 
Over on io9, a reviewer suggests that The Whispers misses the point of Bradbury's story. It's a good review, which gave me a few chuckles. But it seems to me that you can't expect an open-ended TV series to have the same point as a short story that runs to just a few pages. I would hope that The Whispers is designed to reach a conclusion at some point, but it's not being advertised as a closed serial of defined length. Rather, it is typical network TV fare, working on the principle of "let's keep it going as long as we can, and possibly consider concluding it at some unspecified point in the future - if we don't get cancelled at short notice". The best we can expect, I think, is that "Zero Hour" be treated honorably as the jumping-off point for the series, after which it becomes its own thing.

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Sunday, May 31, 2015

The Whispers = "Zero Hour"

On Monday 1st June, ABC airs the first episode of The Whispers, a science-fiction TV series based on Ray Bradbury's short story "Zero Hour". The series was announced a long time ago, and has been delayed several times. Let's hope the wait has been worth it.

"Zero Hour" was first published in 1947, in the pulp magazine Planet Stories, a regular home for Bradbury stories in the 1940s. Today you can find it in several Bradbury books: it's in the 1951 collection The Illustrated Man, the 1960s compilation S is for Space, and the 2003 retrospective collection Bradbury Stories: 100 of his most celebrated tales.


Planet Stories, fall 1947 issue.  Click to embiggen.


Bradbury's story is about an alien invasion with a difference. The alien - Drill - finds a way of communicating with Earth children.The children incorporate Drill's ideas into their play, and eventually enable Drill to take over the Earth. Like John Wyndham in The Midwich Cuckoos, Bradbury manages to tap into something inherently frightening about children. Perhaps they are too innocent, so that they just have to be up to something.

But what Bradbury's story is really about is... bad parenting. As with another of his classic short stories, "The Veldt", the parents just don't pay enough attention to the kids. They've got enough adult things to pre-occupy them, and would rather just send the kids off to play, or to sit in front of the TV. Their lack of interest in what their kids are up to, and specifically their lack of interest in the children's play, becomes the parents' downfall.

Bradbury often said that he didn't predict the future, but instead tried to prevent it. "Zero Hour" is a classic Bradburyan warning: pay more attention to your kids, or else...

"Zero Hour" has remarkable staying power. Although the story is dated in places, and clearly reads like something from the 1950s (although it was written in the 1940s), it is sufficiently non-specific about future technologies that it can stand up well today. It has long been popular in other media, too. It was all over American radio in the 1950s: it was adapted for Dimension X in 1950; Lights Out in 1951; Escape in 1953; Suspense three times (1955,1958 and 1960); X Minus One in 1955. And it has been made into a short film, and adapted by Bradbury himself for TV's  Ray Bradbury Theater - see the Youtube video below.

Although Bradbury's short story is still in copyright, somewhere along the line Anthony Ellis' 1950s radio script for "Zero Hour" slipped into the public domain, and has become a popular source for re-enactors of old-time radio. You can find the script here.

At the time of writing, I haven't seen The Whispers. Given that there have been some dreadful adaptations of Bradbury over the years, I am not expecting much from the series. But I have my fingers crossed that Bradbury's concept is strong enough to shine through whatever ABC can do to it!



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Saturday, May 23, 2015

Ray Bradbury - "Minor Poet"

On 10th July 1972, Ray Bradbury​ was the first speaker in a twelve-week series of free lectures entitled Cosmic Evolution: Man's Descent from the Stars at San Francisco's Exploratorium. "I will be participating as a minor poet and sub-minor philosopher," Ray said, "seeking to explain our age and the great three-billion-year age ahead."

By this time, Bradbury had been closely associated with space - partly through his fiction, but more importantly through his non-fiction writings and public speaking.

Other contributors to the lecture series were all scientists, including: Freeman Dyson, who lectured on intelligent life in the universe; Nobel Prize-winning chemist Melvin Calvin, on the origin of life; and Philip Morrison, who concluded the series with "The Context of Mankind: a Summation."

Five years later, Bradbury and Morrison would sit together on a NASA panel with novelist James Michener and explorer Jacques Cousteau, discussing "Why Man Explores". The answer to such a question clearly required not just a scientific answer, but a poetic one.


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Saturday, April 18, 2015

Start Date for THE WHISPERS, based on Bradbury short story

After much unexplained delay, ABC has finally announced an air date for the new series The Whispers, which is based on the classic Ray Bradbury short story "Zero Hour".

TVLine.com broke the news, and published the first preview of the official poster.

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Saturday, April 11, 2015

20,000 Leagues Under The Sea

Jules Verne's 20,000 Leagues Under The Sea is the latest release from Colonial Radio Theatre, the audio drama company whose previous hits include Ray Bradbury's The Martian Chronicles, Dandelion Wine, Something Wicked This Way Comes and The Halloween Tree.

As with Colonial's Bradbury productions, 20,000 Leagues stays true to the source material - although if you are only familiar with the 1954 film (or any of the many TV remakes), there may be some surprises for you here. The first surprise might be the cover art, seeming to imply that Captain Nemo is perhaps some kind of Indian nobleman, but even this is true to Jules Verne, although it is in Verne's sequel The Mysterious Island that this aspect of Nemo's past is revealed.

Verne's extraordinary voyage is really a tour of the world under the sea, in itself a rather undramatic premise. It succeeds by the vividness of the wonders he describes, and by the verisimilitude of the fantastic events that befall the cast of characters: the French scientist Arronax, his assistant Conseil, and Canadian whaler Ned Land, all of whom become unwitting captives of the myterious Captain Nemo. The other element which draws the reader (or listener) forward is the mystery of Nemo himself. What motivates his vengeful attacks on ships of all nations? Who are the other occupants of Nemo's wondrous submarine the Nautilus? How can they possibly survive life beneath the oceans?

Colonial's Nemo is J.T.Turner, who plays him as appropriately larger than life. Although we never fully discover all of Nemo's secrets, we do learn of his intense sadness when there is loss of life among his own crew, and we do learn of an emotional trauma related to his wife and children. It is to Colonial's credit that these humanising elements of the story are retained alongside the rollicking adventure of fighting giant squid and escaping from cannibals.

Something else I admire about this production is its period setting. It might have been tempting to either update the story, or eliminate the specifically outdated elements. But I'm pleased to see that this version clearly keeps the story before the completion of the Suez Canal, and even allows Verne's mistaken assumption that the South Pole is on a floating ice cap (as the North Pole is), rather than on the terra firma of the continent of Antarctica.

Ordering details for Jules Verne's 20,000 Leagues Under The Sea can be found on Colonial's website: http://www.colonialradio.com/

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Wednesday, April 01, 2015

The April Witch



Into the air, over the valleys, under the stars, above a river, a pond, a road, flew Cecy. Invisible as new spring winds, fresh as the breath of clover rising from twilight fields, she flew. She soared in doves as soft as white ermine, stopped in trees and lived in blossoms, showering away in petals when the breeze blew. She perched in a lime-green frog, cool as mint by a shining pool. She trotted in a brambly dog and barked to hear echoes from the sides of distant barns. She lived in new April grasses, in sweet clear liquids rising from the musky earth.

It's spring, thought Cecy. I'll be in every living thing in the world tonight...

- Ray Bradbury, "The April Witch", Saturday Evening Post, April 5th 1952.

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Saturday, March 28, 2015

Bradbury on Screen: Twin Evils

Today sees the climax of our film series Ray Bradbury: From Science to the Supernatural in Bloomington, Indiana. To finish, we have two films with screenplays by Ray Bradbury.

Moby Dick (1956) was not Bradbury's first screenwriting job, but it was certainly the one which established him as a quality writer for the screen. He shares screenplay credit with John Huston, but a study of Bradbury's final draft script with the finished film shows that Bradbury wrote the majority of what was filmed - although he was, of course, working under guidance from Huston.

The film influenced Bradbury's career in many ways, and really echoed through much of his work that he did in the following forty years or so, some of which I discuss in my review of Moby Dick, which you can find here.

Our second Bradbury-scripted film can also be said to have occupied Ray for thirty-five years, in that it has its origins in a 1948 short story, "The Black Ferris", which Bradbury then developed into a screen treatment in the late 1950s, turned into a novel in the 1960s, and finally scripted (several times) in the 1970s and 1980s. Something Wicked This Way Comes, finally produced by Disney in 1983, was directed by Jack Clayton, and features some memorable scenes - such as the library confrontation between Mr Dark and Mr Halloway - which Bradbury refined through his many re-writings as the story evolved from initial premise through to final screenplay.

Unfortunately, the film didn't do well with preview audiences, and so it was extensively re-worked. New scenes were written and shot, and the whole finale sequence was re-edited. Special visual effects were added to give a more supernatural dimension to some scenes, and the original George Delerue score was replaced with a new one by James Horner.

Clayton and Bradbury had a serious falling-out during the making of the film, and although they maintained a diplomatic silence about this while the film was on first release, Bradbury later let it be known that his and Clayton's decades-long friendship was over. The two had met in 1954 - when Bradbury was working on Moby Dick.

Both films play on ideas of evil, and both make use of omens to build an atmosphere of fear. The great Royal Dano appears in both films, and is the prophet of doom in each one.

In between the two films, there will be a discussion session, where Jon Eller and I will attempt to unravel the complex production histories of the two films. If you can join us, we'd love to see you there.

I've blogged quite a few times on Moby  and Something Wicked: Moby Dick posts are here; and Something Wicked posts are here.

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Friday, March 27, 2015

Two Ways To Burn A Book...

 Tonight, the Ray Bradbury film series Ray Bradbury: From Science to the Supernatural continues in Indiana, with a double bill and a discussion panel.

First on screen is a genuine rarity: an episode of the classic 1950s live TV anthology series Playhouse 90 which has never been given any kind of repeat broadcast. Nor has it ever seen any kind of commercial release. "A Sound of Different Drummers" is an original TV drama written by Robert Alan Aurthur, about agents of the state who send books for incineration.

Now, if you think that sounds like Fahrenheit 451, imagine what Ray Bradbury thought when he saw it back in 1957.

Bradbury initiated legal proceedings, claiming that Playhouse 90 had taken his story without permission. At first, he lost. But on appeal, and with the presentation of evidence that Aurthur had prior knowledge of Fahrenheit, he won.

There are three good accounts of "A Sound of Different Drummers". One is online, in Stephen Bowie's excellent Classic TV History blog. Bowie has actually watched the episode (researchers can access a copy at the Paley Center in New York), and makes some great observations about John Frankenheimer's direction. A second account is given in Gene Beley's book Ray Bradbury Uncensored. The third account, and the one which gives most detail of the legal case, is in Jon Eller's biography Ray Bradbury Unbound.


Jon Eller will be co-hosting tonight's screening, and also participating in the discussion panel which will be sandwiched between "Drummers" and Fahrenheit 451.




Which brings me to our second offering of the evening: Francois Truffaut's film version of Fahrenheit 451. This 1966 film is a curious item. Not exactly typical Truffaut - it was Truffaut's first colour film, his first film made for an American studio, his first film made outside of France, and his first and only English-language film.

Truffaut declared that he wasn't interested in science fiction, and this makes him a curious choice to direct Fahrenheit. What attracted him to the story was the very notion of book-burners. As a lifelong bibliophile, he took great delight in thinking through the consequences of a world without books.

Contemporary viewers and critics were somewhat perplexed by the film. The mere fact of it being a British-made film of an American book, directed by a French filmmaker, gave it a strange feel. The decision to largely avoid any chemistry between the characters of Montag, Linda Montag and Clarisse gave it a coldness. Some interpreted this revealing a lack of ability on Truffaut's part. My own view is that Truffaut was very conscious of what he was doing, and indeed his films prior to Fahrenheit demonstrate a clear understanding of human relationships. The coldness of Fahrenheit is not a failing; it is the central message of Truffaut's view of a world without books.

Showing Truffaut's vision of Bradbury's text immediately after Aurthur and Frankenheimer's view of a similar (but not identical) scenario will, I hope, allow us to consider different interpretations of the same basic idea. Aurthur and Bradbury were both writing in the 1950s, the era of McCarthyism, but also the era when television was becoming the leading popular medium, threatening to bring about the end of radio, cinema, theatre and literacy. Truffaut was responding to the 1960s, with television rapidly moving towards McLuhan's vision of the "global village".



In between the screenings this evening, there will be a discussion panel. Jon Eller and I will be joined by Ray Haberski, who heads American Studies at Indiana University-Purdue University Indianapolis, and by De Witt Douglas Kilgore, a leading science fiction scholar from Indiana University.

Details of how to obtain tickets for tonight's free events are here: http://www.cinema.indiana.edu/about/visiting-the-cinema/

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Thursday, March 26, 2015

Bradbury on Screen: It Came From Outer Space

Tonight, we continue the film event Ray Bradbury: From Science To The Supernatural in Bloomington, Indiana - with a rare 3D screening of It Came From Outer Space.

The film was made from a detailed screen treatment by Ray Bradbury. In 1952, with no real screenwriting experience to speak of, Bradbury was contracted to create and develop a film story for Universal. Being somewhat naive, and perhaps getting carried away with his idea, Bradbury wrote several versions of his treatment, culminating in one which was over a hundred pages long. In all but its technical formatting, this was a screenplay rather than a treatment.

To turn Bradbury's screen story into a shooting script, Harry Essex was brought in. Essex freely admitted that his job was very easy, as all he had to do was re-shape the treatment to conform to the screenplay format, and add some dialogue.

It Came From Outer Space joined the wave of science fiction films which had begun with Destination Moon in 1950, continued with The Day the Earth Stood Still in 1951, and with War of the Worlds in 1953. By the end of the decade, the SF film genre would deteriorate into repetitive monster movies - but for now, Bradbury was able to make a significant contribution to an intelligent form of SF in which being alien doesn't necessarily mean being evil or hostile.

Twenty-five years later, Steven Spielberg would declare It Came From Outer Space as one of his key influences in developing Close Encounters of the Third Kind.

My review of It Came From Outer Space includes some extended quotes from Bradbury. You can find it here.

Tonight in Indiana University Cinema in Bloomington, Indiana, we will be presenting the film in 3D. Viewers will be given the classic red and blue glasses. Jon Eller and I will introduce the film, and we will be joined on stage by IU's resident 3D film expert Chris Eller. There will be a post-screening Q&A session. Details of ticketing arrangements can be found here: http://www.cinema.indiana.edu/about/visiting-the-cinema/.


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Wednesday, March 25, 2015

Bradbury films online

If you couldn't get to the opening night of Ray Bradbury: From Science to the Supernatural - or if you were there and want to see the films again - here is a handy collection of links to online versions of some of the films.

Icarus Montgolfier Wright
This is a different print to the one we screened, and lacks the Bradbury introduction (which was added c.1970).

And The Moon Be Still As Bright
From The Martian Chronicles.

The Burning Man
 From The Twilight Zone.

Marionettes, Inc.
From The Ray Bradbury Theater. Watch out for the Bradbury stand-in in the title sequence. (From the front, the legs and arms of "Ray" are significantly skinnier than the real Ray.)

The Life Work of Juan Diaz
From The Alfred Hitchcock Hour.



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Tuesday, March 24, 2015

TV + Shorts Programme

Today sees the opening night of Ray Bradbury: From Science To The Supernatural, the film event I am co-hosting in Bloomington, Indiana. We're starting with some short items, for two reasons: first, I maintain that the short form invariably gives a better representation of Bradbury's storytelling (he was more of a short-story writer than a novelist); and second, it allows us to give a rapid overview of the range of Bradbury's work.

In this one evening, we can show Bradbury the visionary of the space age, alongside Bradbury's nostalgic recollection of his childhood; Bradbury's considered reflection on the rights and wrongs of explorers pushing forward into new territory, next to his fictionalised reflection of his own experience of the "alien" Mexican approach to death.

Here's what we're showing:



Icarus Montgolfier Wright
This Oscar-nominated short animation from 1962 (it lost to the Hubleys' "The Hole") is based on a story first published in The Magazine of Fantasy & Science Fiction in 1956. George Clayton Johnson - who would become known as a significant writer for The Twilight Zone, Star Trek and the original Ocean's Eleven - drafted the original screenplay directly from Bradbury's story. Bradbury then re-wrote the script, taking the opportunity to tweak the story. The two writers share screenplay credit.

The imagery for the film comes entirely from the artist Joe Mugnaini, who by 1962 had become intricately connected to Bradbury's work. His illustrations had graced the covers (and interiors) of a number of Bradbury books, most notably Fahrenheit 451 and The Golden Apples of the Sun.





And The Moon Be Still As Bright
When NBC broadcast its Martian Chronicles miniseries in 1980, Ray Bradbury famously declared to the press that he found it "boring". And indeed, the series as a whole is remarkably lacklustre, with a leaden pace. Oddly, the teleplay - by the usually excellent Richard Matheson - seems blameless: for the most part, the miniseries follows the fascinating events of the novel. And yet the Bradbury magic is mostly lost. The blame must surely lie with the director Michael Anderson, whose previous forays into science fiction territory (1984, Logan's Run) were similarly unengaging.

One segment which came close to capturing the dynamics, mood and tone of the Bradbury original comes in the last part of the first episode of the miniseries, which adapts the turning-point story "And The Moon Be Still As Bright". The story (and episode) captures the shocking discovery that the native Martians have been wiped out by disease brought from Earth, and then considers the dilemma of what to do: press on, and take over the Red Planet, or seek to preserve the remains of the lost Martian society. Bernie Casey puts in an energetic turn as Spender, the Earthman who speaks for Mars.



The Burning Man
This episode of The Twilight Zone from 1985 has a script and direction by Ray's friend J.D. Feigelson. I have always put this episode forward as one of the best examples of Bradbury adapted for screen. It's short, atmospheric, and engaging. Roberts Blossom dominates the screen.

For more on this episode, see my review, here.





Marionettes Inc.
One of the better early episodes of Ray's own TV series, The Ray Bradbury Theater (1985), this one stars James Coco in dual roles: Braling, and the robotic Braling II. As with all episodes of Ray Bradbury Theater, the script was written by Bradbury himself, and allows us to see how he re-imagined the story nearly forty years after its creation: it's a Bradbury classic, dating back to 1949.

It's been adapted for TV several times, including a version for Alfred Hitchcock Presents in the 1950s. Read my review of the Ray Bradbury Theater version here.



The Life Work of Juan Diaz
This Bradbury-scripted episode of The Alfred Hitchcock Hour dates from 1964, and is based on a short story first published in Playboy the year before. Bradbury was inspired by his visit to Mexico in the 1940s when, as a young writer, he encountered the Mexican Day of the Dead, and visited the famous mummies of Guanajuato. That short visit gave him experiences which would surface in a number of short stories, including "The Next in Line", "El Dia de Muerte" and "The Candy Skull".

This episode was directed by the estimable actor-producer-director Norman Lloyd, who produced and directed most of Bradbury's work for the Hitchcock series. My review of the episode is here.

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Saturday, March 21, 2015

Ray Bradbury: From Science To The Supernatural

This week sees the start of the film event Ray Bradbury: From Science To The Supernatural, a week of screenings in Indiana of film and television works scripted by Ray, or based on his work.

The germ of the idea came a year ago, when Jon Eller - Director of the Center for Ray Bradbury Studies - was in discussion with Indiana University Cinema, headed by Jon Vickers. IU Cinema hosts major film events, including visits from luminaries such as Werner Herzog, Meryl Streep and Peter Weir.

When I visited the Bradbury Center in Indianapolis this time last year, Jon and I spent a bit of time bouncing around ideas for a Bradbury film series - and the result is From Science To The Supernatural.

But why that title?


We wanted to reflect the breadth of Bradbury's writing, presenting him not as "just" a science-fiction writer, or "just" a fantasist. At the same time, we were conscious of Ray's close association with space scientists - while not a "hard" SF writer, Ray's poetic vision of humankind's future in space made him a leading advocate of the American space programme. We wanted to acknowledge Ray's influence on a couple of generations of space visionaries, while also presenting some of the best adaptations of his work which, as it happens, tend to be at the more fantastic end of the spectrum.

Jon Eller and I both had some instant ideas of what to screen in our imagined ideal Ray Bradbury film festival, and we were partly influenced by the treasures held in the Center for Ray Bradbury Studies, which include Ray's personal 16mm and 35mm prints of some of his film and TV work. After bouncing around ideas, we gradually homed in on the selection in the current programme.

And so, when the series begins in IU Cinema on Tuesday 24 March, we shall be offering the following:

TV + Shorts:
It Came From Outer Space - the influential 1953 science fiction film (presented in 3D), from an original screen story by Bradbury, and directed by the legendary Jack Arnold.

Playhouse 90: A Sound of Different Drummers - a TV drama which borrows from Bradbury's Fahrenheit 451 (Bradbury sued over this, and won).

Fahrenheit 451 - Francois Truffaut's Hitchcockian 1966 take on Bradbury's best-known novel.

Moby Dick - the film which effectively launched Bradbury's screenwriting career, directed by John Huston in 1956.

Something Wicked This Way Comes - the only major film to have been made of a Bradbury book from a Bradbury script during Ray's lifetime. This 1983 Disney film was directed by Bradbury's friend Jack Clayton, but friction between the two unfortunately brought their friendship to an untimely end.

If you happen to be in Bloomington, Indiana, during the coming week, grab yourself some free tickets to our screenings - detailed scheduling and ticket information are here:  http://www.cinema.indiana.edu/?post_type=series&p=8874

I will be blogging about the film event every day that we have a screening. Watch this space for more on Ray Bradbury: From Science To The Supernatural.

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Friday, March 06, 2015

Moby Dick (1956) on Blu-Ray

Somehow it passed me by, but back in July a Blu-Ray version of Moby Dick was released - in Australia.

It's officially labelled as "region B", but there are many reports that the disc is actually region-free, which means it should play on any Blu-Ray player, anywhere in the world.

The few brief reviews I have seen indicate that the disc is quite plain, with no special extras, and the transfer is nothing special. It appears that no particular restoration has taken place. However, the Blu-Ray does offer one distinct improvement over the previous commercial releases of the film: it is in the correct 1.66:1 aspect ratio. This means that, for the first time, home viewers can see the full film frame, and not have Oswald Morris' careful compositions wrecked by inconsiderate cropping to a 4:3 frame.

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Sunday, March 01, 2015

Leonard Nimoy (1931-2015)

You can't fail to have noticed the widespread tributes to Leonard Nimoy, who died recently at the age of 83. Of course, Star Trek, and of course, Spock. But Nimoy also had an incredibly long career that spanned stage, television, film - and was recognised for his acting, teaching, writing, directing and photography.

It would be impossible for science fiction giants like Nimoy and Bradbury to have never crossed paths, and indeed their paths did cross on several occasions - but curiously the only times when Nimoy acted for Bradbury were all voice work.

Nimoy recorded a couple of spoken-word albums of Bradbury material, which included short stories chosen from The Illustrated Man and The Martian Chronicles. Today, we would call these "audiobooks", but back in the day they were released as LPs.

Later, Nimoy put in an energetic performance as Bradbury's character Moundshroud, in the Emmy-winning animated TV film of The Halloween Tree. On this occasion, Nimoy was performing directly from a screenplay written by Bradbury himself.

It's been interesting to see the tributes to Nimoy, which have come not just from Hollywood, but from NASA, astronauts, and President Obama. He inspired people to dream of space, and of the future; much as Bradbury did. I haven't been able to locate any photos of Bradbury and Nimoy together, but I've sure they met at some point, and no doubt they would have much in common to talk about.


 


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Thursday, January 22, 2015

Last Word on the Demolition?

The fallout following the demolition of Ray Bradbury's former Los Angeles home has continued, but KCRW's DnA architecture show has presented what may be the last word on the topic for now. Trailed online for over a week, the show was finally broadcast two days ago, and is currently online in full.

The report begins with a brief interview with the Manager of the Office of Historic Resources of the City of Los Angeles' Department of City Planning, who explains what would have been needed to have saved the house. Then buyers of the house, architect Thom Mayne and his wife, explain their plans for the property. Finally, Jon Eller of the Center for Ray Bradbury Studies, who only learned of the demolition after it had happened, presents a philosophical take on where we can go from here.

The show is online here: http://www.kcrw.com/news-culture/shows/design-and-architecture/thom-mayne-shares-plans-for-bradburys-former-home-suburban-la-gets-a-retrofit

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Monday, January 19, 2015

Proposed SOMETHING WICKED film updates story to 1980s

Since the announcement last year that Seth Grahame-Smith was attached to a new film adaptation of Ray Bradbury's Something Wicked This Way Comes, there has been a period of silence. This week, Entertainment Weekly has provided an update. And the biggest news is that the film itself will update Bradbury's story - to the 1980s. This, Graham-Smith reports, is the era of his own childhood, "the most authentic time that I know how to represent."

This strikes me as incredibly faulty logic - like updating Huckleberry Finn to the 1970s.

The EW article is a survey of Grahame-Smith's current projects - and there are plenty of them: not only Something Wicked but proposed re-boots of Beetlejuice and Stephen King's It, among others. This is one busy writer-producer-director.

Something Wicked is reported as being scripted by David Leslie Johnson, from a treatment by Grahame-Smith. Johnson began his career as an assistant to Frank Darabont on The Shawshank Redemption, The Green Mile and The Walking Dead; his biggest screenwriting credit to date is for The Wrath of the Titans. The earliest the film might go before the cameras is late 2015, but my recommendation (as always) is: don't hold your breath.

The EW report is here: http://insidemovies.ew.com/2015/01/16/beetlejuice-2-something-wicked-gremlins-seth-grahame-smith/2/

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Sunday, January 18, 2015

Jon Eller clarifies his position on the Bradbury house demolition

Last week, the news broke that Ray Bradbury's former home was being torn down. Shortly after, reports appeared suggesting that Bradbury's biographer Jon Eller was in favour of the demolition. Frustrated by inaccurate reporting, Eller has now made a direct announcement to clarify his position: he was never consulted by the architect, and the first he knew of the demolition was after the house was torn down. Eller visited Bradbury many times during the last couple of decades of Ray's life, and conducted many hours of research interviews. His announcement indicates the extent of his own personal attachment to "that Old Yellow House".

Jon Eller's statement was published yesterday on the web page of the Center for Ray Bradbury Studies, which he directs at Indiana University. It was also sent directly to me, to author Steven Paul Leiva, and a few other news outlets.

This is what he wrote:

I would like to clarify the reporting of recent days concerning the Bradbury Center's support of Thom Mayne’s plans for Ray Bradbury’s Cheviot Hills home in Los Angeles. I was never in favor of demolishing the Bradbury home; until last week, I had no idea who the new owner was, or what he planned for the home. When I received pictures of the house being torn down, I found out who the new owner was and I learned all I could about his plans.  I was impressed by his decision to preserve the fine details of woodwork for charity donation. I was impressed that he was planning to live in the new house, rather than build and sell it. I later learned that he would be building a low-profile, garden-and-wall home that would prominently honor Ray Bradbury’s legacy on that property. I subsequently supported Thom Mayne’s planning going forward, not because he demolished the Bradbury home, but because I knew he planned to honor Ray Bradbury’s memory in a significant and enduring way. - See more at: http://iat.iupui.edu/bradburycenter/news/center-director-responds-media-coverage-comments-bradbury-house-tear-down#sthash.Nzeg87Mb.dpuf
I would like to clarify the reporting of recent days concerning the Bradbury Center's support of Thom Mayne’s plans for Ray Bradbury’s Cheviot Hills home in Los Angeles. I was never in favor of demolishing the Bradbury home; until last week, I had no idea who the new owner was, or what he planned for the home. When I received pictures of the house being torn down, I found out who the new owner was and I learned all I could about his plans.  I was impressed by his decision to preserve the fine details of woodwork for charity donation. I was impressed that he was planning to live in the new house, rather than build and sell it. I later learned that he would be building a low-profile, garden-and-wall home that would prominently honor Ray Bradbury’s legacy on that property. I subsequently supported Thom Mayne’s planning going forward, not because he demolished the Bradbury home, but because I knew he planned to honor Ray Bradbury’s memory in a significant and enduring way. - See more at: http://iat.iupui.edu/bradburycenter/news/center-director-responds-media-coverage-comments-bradbury-house-tear-down#sthash.Nzeg87Mb.dpuf
I would like to clarify the reporting of recent days concerning the Bradbury Center's support of Thom Mayne’s plans for Ray Bradbury’s Cheviot Hills home in Los Angeles. I was never in favor of demolishing the Bradbury home; until last week, I had no idea who the new owner was, or what he planned for the home. When I received pictures of the house being torn down, I found out who the new owner was and I learned all I could about his plans.  I was impressed by his decision to preserve the fine details of woodwork for charity donation. I was impressed that he was planning to live in the new house, rather than build and sell it. I later learned that he would be building a low-profile, garden-and-wall home that would prominently honor Ray Bradbury’s legacy on that property. I subsequently supported Thom Mayne’s planning going forward, not because he demolished the Bradbury home, but because I knew he planned to honor Ray Bradbury’s memory in a significant and enduring way.

The Center for Ray Bradbury Studies exists on Indiana University’s IUPUI campus to extend the Bradbury legacy, to preserve his writings and books, and to provide extensive research sources and public outreach for scholars, students, and the general public. We are fortunate to have archives and artifacts here at IUPUI in Indianapolis that will allow us to re-create Ray Bradbury’s basement office as it existed for decades in his Cheviot Hills home. It takes the work of many people from all over the country to realize that dream. I’m in the business of building bridges that embrace hope and sadness, loss and recovery, and the celebration of the human imagination. Thom Mayne knows Ray Bradbury’s literary works, and I want the Bradbury Center to be able to help him celebrate and honor the Bradbury legacy in the future. I miss that Old Yellow House more than I care to say publicly, and I never wanted to see it disappear. But it will never be lost, as long as we work together to preserve its memory.
 

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Friday, January 16, 2015

Former Bradbury Home Demolition - New Owner Speaks Up

A quick update to yesterday's post: architect Thom Mayne has spoken for the first time on his motivations and plans in buying Ray Bradbury's former house in Los Angeles.

Alex Shephard briefly interviewed Mayne by phone. Read the details here: http://www.mhpbooks.com/why-was-ray-bradburys-home-demolished-an-interview-with-architect-thom-mayne/

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Thursday, January 15, 2015

Building Bridges

Reports of the demolition of Ray Bradbury's former home have gone viral over the last day or two, with many news outlets and bloggers picking up on the original reports which appeared on File770. The news reports have resulted in hundreds of comments, some of them motivated by sadness, anger or disbelief. The architect Thom Mayne - reportedly the purchaser of the house on Cheviot Drive, Los Angeles - has been the target of some hostile reactions from Bradbury followers, but to my knowledge has not yet been drawn into commenting on reports of his plans and intentions.

Jon Eller - Bradbury's literary biographer, author of Becoming Ray Bradbury and Ray Bradbury Unbound, editor of The Collected Stories of Ray Bradbury, and director of the Center for Ray Bradbury Studies - has taken a more philosophical view on the demolition. According to KRCW's Design & Architecture blog, Eller believes that both Bradbury and Mayne are futurists, whose view of the transformative power of architecture show parallels. Eller hopes to draw Mayne into dialogue, so that the reported family-home construction planned to replace the Bradbury house will be in some way informed by Bradbury's legacy.

KRCW has recorded an interview with Jon Eller, and is planning to interview Thom Mayne. The Design & Architecture blog promises that these interviews will be heard in an upcoming episode.

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Tuesday, January 13, 2015

Soft Rains

It's been the oddest of weeks.

Ray Bradbury's former house, located on Cheviot Drive in Los Angeles, has been recreated along with Ray in a graphic treatment of a Bradburyesque fiction - and in real life has been pulled down.

Ray passed away in 2012, and in 2014 his house was finally put up for sale. It was bought by an architect who, apparently, has the intention of using the land for building a new family home. It was only a matter of time before the Bradbury house, a curious yellow bungalow built into a hillside, would be redeveloped. I don't think anyone close to Bradbury was quite prepared for how devastating this would seem.

Ray and his family moved into the house over fifty years ago, and countless newpaper interviews, magazine profiles, news reports and documentary films have shown the house, so much so that the house and Bradbury became synonymous. His basement office, overloaded with books, toys and exotic masks, was for many years a particular focus of published profiles of Ray; and in the last years of his life, it was his "den" that became the focus, where he would entertain visitors surrounded by sculptures of dinosaurs, an Ice-Cream Suit, Halloween paraphernalia and original artworks.

In 2014, not only was the house sold off, but many of Ray's possessions also went up for auction. And this week, the demolition team moved in. There are pictures of the remains of the house in this report on Mike Glyer's File770 website, accompanying an article written by Ray's longtime friend and helper John King Tarpinian.

By coincidence, this week also saw the publication of the third issue of Shadow Show, the comic book based on the Bradbury tribute book of the same name. Issue 3 includes a graphic adaptation of Bradbury biographer Sam Weller's short story "Live Forever!" - a story which includes Ray as a character, and uses the house as the arena in which this Bradburyesque tale unfolds. Sam tells me that the comic's producers went to great lengths to achieve accuracy in depicting the house. The result is very successful. Here's one page from the comic, and you can see more in this preview.





Note that even the artworks hanging on the walls are reproduced with accuracy in Mark Sexton's comic strip - in the page above, the final frame shows the classic cover art for Bradbury's The Illustrated Man.

It is a great irony that these two events should have coincided: the celebration of Bradbury's house as one source of his literary strength, and the destruction of that same house. Friends of Bradbury who were present around the time of the demolition have reported a further irony. The day they knocked the roof off the Bradbury house, it rained. Not exactly a common occurrence in Los Angeles. Inevitably, it brings to mind Bradbury's classic short story "There Will Come Soft Rains", which poignantly depicts an empty house after a nuclear war:


The house shuddered, oak bone on bone, its bared skeleton cringing from the heat, its wire, its nerves revealed as if a surgeon had torn the skin off to let the red veins and capillaries quiver in the scalded air. [...]

The crash. The attic smashing into kitchen and parlor. The parlor into cellar, cellar into sub-cellar. Deep freeze, armchair, film tapes, circuits, beds, and all like skeletons thrown in a cluttered mound deep under.[...]

Dawn showed faintly in the east. Among the ruins, one wall stood alone. Within the wall, a last voice said, over and over again and again, even as the sun rose to shine upon the heaped rubble and steam:

"Today is August 5, 2026, today is August 5, 2026, today is . . ."








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Wednesday, December 31, 2014

Ray Bradbury: From Science to the Supernatural

Ray Bradbury: From Science to the Supernatural is a film screening event taking place in Bloomington, Indiana, from 24th-29th March 2015. For the last few months, I have been working with Indiana University Cinema and the Center for Ray Bradbury Studies on the programme of events, and can now reveal the contents of the screenings.

The images below are taken from the Spring 2015 programme book from IU Cinema. Click on them to enlarge, and you will see the full blurb for each of the events.

All being well, I will be attending all screenings - introducing some of the events, and participating in disussion panels for some of them. Jon Eller, author of Becoming Ray Bradbury and Ray Bradbury Unbound will be co-hosting. Jon and I collaborated on the basic "wishlist" for the screenings, and IU Cinema's Jon Vickers has done the real work in sorting out screening rights and securing prints and recordings of the films and TV shows in the programme. (No mean feat, especially when Jon Eller and I desperately wanted to include the extremely rare "A Sound of Different Drummers".)

According to the IU Cinema catalogue, all screenings in the Bradbury series will be FREE, but you will need tickets to attend (IU Cinema is limited to 260 seats). Details of how to book are included in the images below. 








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Monday, December 01, 2014

Ray Bradbury and THE TWILIGHT ZONE

Marc Scott Zicree, the writer-producer, and author of the excellent Twilight Zone Companion,  is working on a book about his ten-year-long friendship with Ray Bradbury. The working title is My Ray Bradbury.

When Zicree was working on The Twilight Zone Companion, he attempted to interview Bradbury about his involvement with that classic Rod Serling TV series. Bradbury wrote just one completed episode of the series, "I Sing The Body Electric," but also wrote a couple of unfilmed episodes. Bradbury also claimed a significant contribution to the very existence of the series: he reportedly introduced Serling to the writers Richard Matheson and Charles Beaumont, each of whom would write many episodes of the series.

Zicree's attempt to draw information out of Bradbury was thwarted back in the 1980s, but the two later became friends. Long after The Twilight Zone Companion was published, Zicree finally heard  Bradbury's account of how the relationship between Serling and Bradbury soured. Zicree recounts all of this in his latest "Mr Sci-Fi" video on YouTube.

Zicree slightly overstates things when he claims that none of this has been discussed before. In fact, much of Bradbury's account of events is given in Sam Weller's biography The Bradbury Chronicles. Nevertheless, Zicree's encyclopedic knowledge of Twilight Zone and Serling, and his friendship with Bradbury, make his telling of events fascinating and compelling. You can see the entire 24-minute video below.

There is, in fact, yet more to the Serling-Bradbury conflict. The Zicree video presents the Bradbury interpretation, but I have seen correspondence from the time which suggests an entire other dimension to the argument between the two great writers. Indeed, Jon Eller's new book Ray Bradbury Unbound (chapter 28) reveals much more of the Serling-Bradbury relationship, based on both the surviving correspondence and his own extensive interviews with Bradbury, giving the most detailed and insightful account yet published.

One day, perhaps, a fuller version of the story may emerge - but for now, Zicree's recounting of Bradbury's view is one of the best you will find.

(This blog post has been updated to include the reference to Ray Bradbury Unbound - 7 January 2014.)


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Friday, November 14, 2014

Bradbury Auction - Round Two

The auction for the Ray Bradbury Estate is on again, with unsold lots from the previous auction now somewhat reconfigured, and with lower starting prices in many cases.

Among the curios still on offer are a genuine Wonderful Ice Cream Suit, from one of the productions of Bradbury's story/play; a herringbone jacket which Ray wore in Ireland while working on Moby Dick for John Huston back in the 1950s; and many items of artwork from Bradbury's personal collection.

Perhaps the standout item is the official commemorative plaque from Ray Bradbury's Hollywood Star, which was presented to him in 2002.

When the first auction was on, I suggested that it would be rather neat if someone would bid-and-donate: to bid on an item and then donate it to the Center for Ray Bradbury Studies. The Center, in Indianapolis, houses the largest collection of Bradbury materials: manuscripts, correspondence, books, pulp magazines, awards and other artefacts - including the furniture from Ray's former basement office. It's primarily a research collection (as the "Studies" in its title implies), but it also has plans for more public outreach and for a visitor reception/exhibition area. While the Center's collection is extensive, the Center isn't exactly awash with funds, and isn't in much of a position to extend its holdings, except by donations.

So, with the round two auction now underway - with just under a week left to run - I would once again like to suggest bidding-to-donate. That Hollywood Star would look quite magnificent in, say, a reconstruction of RayBradbury's basement office...

The Hollywood Star lot is viewable here: http://natedsanders.com/ItemImages/000032/47585h_lg.jpeg

And the entire auction catalogue is online here: http://natedsanders.com/Category/Ray_Bradbury_Estate-66.html

Happy Bidding!

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Wednesday, November 05, 2014

RIP: George Slusser (1939-2014)

Some sad new to report: George Slusser has died.

George wrote one of the earliest studies of Ray Bradbury's work, The Bradbury Chronicles (Borgo Press, 1977). This short study, written in an accessible style, concentrated mainly on Bradbury's early short stories, and drew out the key themes that seemed to be Bradbury's preoccupation in those classic weird tales.

George Slusser was an academic at the University of California Riverside, where he built the J.Lloyd Eaton Collection into the world's largest research collection for science fiction, fantasy and horror. He also organised or helped organise many of the Eaton Conferences, and edited and co-edited many of the books that collected the proceedings of those conferences.

As well as writing about Bradbury, George wrote books on Ursula Le Guin, Arthur C. Clarke, Harlan Ellison, Robert Heinlein and many others. He collaborated frequently with Eric Rabkin, and helped shape the academic study of SF.

In 2008, I submitted a conference paper proposal about Bradbury to the Eaton Conference, and was surprised to get a personal response from George. I was even more surprised when he told me my paper had been accepted - and that Ray Bradbury was to be a guest of honour at the conference. That conference would be my first meeting with both George and Ray.

Both the Eaton collection and the Eaton conference look set to continue in the future. Both are a fitting legacy for George Edgar Slusser.


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Wednesday, September 17, 2014

Re-Unite Bradbury's Hugo Award with his Manuscripts!

It took fifty years for Fahrenheit 451, Ray Bradbury's classic novel of book-burning firemen, to be formally honoured by the science fiction community. The first Hugo Awards - voted for by members of the World Science Fiction Convention - were given in 1953 (covering the year 1952), too early for Fahrenheit to be in consideration. They weren't given again until 1955, by which time it was too late for Fahrenheit. But in 2004 the "missing year" of 1954 was finally covered with the "Retro Hugos", an opportunity for Convention-goers to select the best works of 1953 for special awards.

Ray's Retro-Hugo is currently up for auction, along with more than 400 other artefacts offered by the Bradbury estate. The starting bid was $5000. Unfortunately, this is beyond what the Center for Ray Bradbury Studies, which holds (in original or digitised form) many manuscripts related to Fahrenheit 451, could afford to spend. So I would like to make a simple proposition to put the Hugo back with the manuscripts:

Bid-to-donate.

Is there someone out there who could bid for the Retro-Hugo, and donate it to the Center for Ray Bradbury Studies at Indiana University?

If this idea appeals to you, please visit the web site of Nate D. Sanders Auctions of Los Angeles (link below); or email auction@natedsanders.com; or phone 310 440-2982. The auction instructions and registration pages of the website explain the online, phone, and mail bidding process.

The bidding period runs until 5:00 p.m. PDT on Thursday, September 25th, 2014. The Bradbury Hugo Award is lot number 293 in the Bradbury online auction catalog. Here's a direct link:

http://natedsanders.com/Ray_Bradbury_s_Hugo_Award_for___Fahrenheit_451____-LOT31626.aspx

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Saturday, September 13, 2014

Bradbury "Ice Cream Suit" Event in California

If you are near Pomona, California, in mid-October, here's a unique event: a screening of The Wonderful Ice Cream Suit, with a panel on the making of the film. It's to support Pomona Public Library.

The film was scripted by Ray Bradbury, based on his short story and play, and was directed for Disney by Stuart Gordon - a director better known for his work in the horror genre. Gordon will be on the discussion panel, along with two of the film's stars: Joe Mantegna and Edward James Olmos.

And if that weren't enough, the panel will be joined by Bradbury's authorised biographer Sam Weller, and chaired by organiser of Los Angeles' Ray Bradbury Week, Steven Paul Leiva.

Full details of the 12th October event are here.

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Saturday, September 06, 2014

Auction for the Ray Bradbury Estate

After Ray Bradbury's death in 2012, it naturally took a while for his estate to be distributed. As I have reported previously, the bulk of his papers and correspondence, and most of his office contents, found their way to the Center for Ray Bradbury Studies in Indianapolis; and his Cheviot Hills home was sold earlier this year. But Ray's house was also full of personal effects and possessions, including a great deal of artwork - and these remaining objects are now up for auction.

The full catalogue for the auction is online, and the auction house appears to be open to online bidding. There are hundreds of lots, ranging from rough sketches by Bradbury collaborators such as Joe Mugnaini, through to the commemorative plaque for Ray's Hollywood star. Even if you don't intend to bid on anything, the catalogue is fascinating to browse through, and in most cases includes quite detailed photos of the lots. View the catalogue here.

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Friday, August 29, 2014

Bradbury Unbound

Jon Eller's second volume on the life and writing of Ray Bradbury - Ray Bradbury Unbound - is due out in a few days. In addition to his recent blog post for Biographile, Jon has written one for Locus, the science-fiction news magazine. Here, he talks about the discoveries made in researching the book, and the creative challenge of documenting a career in a limited number of pages. The Locus blog is here.

I had the privilege of reading some of the book while Jon was finalising it, and it is a thorough piece of work which captures the whirlwind of Bradbury at his peak, following the successes of Fahrenheit 451 and his film work for Moby Dick and leading into the 1960s.

Ray Bradbury Unbound is available for pre-order in all the usual places: click here to order on Amazon (US); click here to order on Amazon (UK); click here to order from the publisher.

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Wednesday, August 27, 2014

Asteroid 9766 Bradbury

On 24th February 1992, an average-sized asteroid was discovered by Spacewatch observers at the Kitt's Peak Observatory, and designated 1992 DZ2. Eight and a half years later it was given a name: 9766 Bradbury.

Dr Jeffrey Larsen of the Spacewatch Project and the University of Arizona wrote to Ray Bradbury to tell him of this astronomical re-naming. He provided technical details of the asteroid's orbit, and more graspable information such as its size (three to nine kilometres in diameter) and distance from the Sun (2.45 astronomical units). Dr Larsen also informed Ray that the asteroid had not been observed for its physical composition, and thanked Ray "for inspiring me in my youth" through his writing.

Ray immediately faxed Dr Larsen back, exclaiming "Holy Magoly!" He thanked Larsen for "this wonderful baptism" and felt sure that this would earn respect from his four daughters.

Ray Bradbury had been similarly honoured by the Apollo 15 astronauts, who named a crater on the Moon as "Dandelion Crater" in 1971. Shortly after his death, he was astronomically honoured once more, when the Curiosity landing site on Mars was named as "Bradbury Landing".




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Friday, August 22, 2014

Ray Bradbury's Birthday






Ray Douglas Bradbury was born ninety-four years ago today.

Even now, two years after he passed away, the fascination with his life and work continues. In a few weeks' time, a second volume of literary biography will be published: Ray Bradbury Unbound by Jon Eller. Shortly after, the second volume of The Collected Stories of Ray Bradbury: a Critical Edition will appear. The successful tribute volume Shadow Show is being developed into a comic-book series. Film composer John Massari has developed his Ray Bradbury Theater music into a symphonic suite. Dramatic Publishing is expanding its list of Bradbury-authored theatre plays with Something Wicked This Way Comes and The Illustrated Bradbury. And this week, the Indianapolis Public Library inaugurated an annual Ray Bradbury Lecture in conjunction with Indiana University's Center for Ray Bradbury Studies.

I think that deserves a round of applause!




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Sunday, August 17, 2014

Comic-Book Series: Ray Bradbury Tribute SHADOW SHOW

Comics publisher IDW has announced a five-issue series of comic books based on the Shadow Show anthology.

The original anthology, edited by Mort Castle and Ray Bradbury's biographer Sam Weller, was created as a tribute to Bradbury, and included stories from leading fantasists such as Neil Gaiman and Harlan Ellison.

The new comic will adapt a selection of the anthology's stories, including those by Gaiman, Ellison, Joe Hill and Alice Hoffman.

Full details are on IDW's web page, here.

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Thursday, August 14, 2014

Bradbury Wins Retro Hugo

The problem with awards is that they don't always go to the right people. The Hugo Awards - decided on a ballot of the year's World Science Fiction Convention membership - have a way of correcting for this: the Retro Hugos, typically given for overlooked works... but many years after the event.

At this year's Loncon3 convention, the Retro Hugos have been given for the year 1939. This, of course, is long before most of the convention's members were born. But it has given Ray Bradbury a second opportunity to have his works considered for recognition.

Bradbury was on the ballot in two categories:

"Best Short Story" - his amateur story "Hollerbochen's Dilemma" lost out to Arthur C. Clarke's "How We Went To Mars". Perhaps the UK location of this year's Worldcon helped Clarke to win this category...

"Best Fan Writer" - Ray won in this category, where the award is not given for a specific named work, but for a general body of work. Of course, in the late 1930s Bradbury was contributing to a number of fan publications, and was producing his own fanzine, Futuria Fantasia.

I find it quite amusing that Ray Bradbury should win as "best fan writer", particularly since back in 1939 he attended the very first World Science Fiction Convention in New York.

Full details of the Retro Hugo ballot can be found at Tor.com.

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Monday, August 04, 2014

Harlan Ellison story dedicated to Ray Bradbury

Harlan Ellison, who turned 80 just a few weeks ago, has a new short story in the online Subterranean Press Magazine. Titled "He Who Grew Up Reading Sherlock Holmes", the story alludes to both  Conan Doyle's "The Red-Headed League" and Ray Bradbury's "A Sound of Thunder". The story is also dedicated to the memory of Bradbury. Read the story here.

Harlan is also one of the latest additions to the Archive of American Television's oral history programme, with a video interview conducted in early 2013, covering most of the steps in Ellison's screenwriting career. Interviews in this series are usually continuous and chronological, but for some reason this one has been broken into short, top-and-tailed segments. While this has created some fun sections, it doesn't seem quite as carefully controlled as the rest of the series, and the sense of chronology is sometimes lost - as when Harlan talks about The Twilight Zone from the 1980s in between his comments on the 1960s series Ripcord and The Flying Nun. You can watch the interview here.

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Saturday, July 12, 2014

KALEIDOSCOPE returns...

Following hot on the heels of Brian Sibley's radio dramatisation of Bradbury's "Kaleidoscope" (as part of The Illustrated Man for Radio 4's Dangerous Visions season), the archive radio channel BBC Radio 4Extra is today broadcasting a 1991 production of the same story. 4Extra's web page thinks it's a new production, but it isn't.

"Kaleidoscope" is a classic SF short story, in which a group of astronauts find themselves flung aimlessly through space when their spaceship is destroyed; each one of them faces a slow, isolated death. As I have noted elsewhere, the premise seems to have inspired part of John Carpenter's movie Dark Star and Alfonso Cuaron's recent Gravity.


This 1991 radio adaptation is unusual, because the script is by Bradbury himself. It's a modified version of his stage play, and based on his own original short story. It was only the second BBC production to have used a Bradbury script (the first was Leviathan '99, which I reviewed here.).

The 1991 "Kaleidoscope" was directed by Hamish Wilson, who later co-produced the Bradbury series Tales of the Bizarre. It was also the first BBC production to use digital sampling technology in a drama production: they used a Synclavier to create the complex soundscape.

As with most BBC Radio broadcasts, the show will be available for streaming on the web for seven days, and should be accessible from anywhere in the world. Here's a direct link to the web page: http://www.bbc.co.uk/programmes/b0499l5n


..............................................

Today is also the 91st birthday of science fiction writer, critic and historian James Gunn. I met Jim last year, as I recounted in this blog post.  He's still going strong, and last year published a well-received novel, Transcendental.

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Saturday, June 14, 2014

Dangerous Visions from BBC Radio 4

Today sees the start of BBC Radio 4's week-long season of science drama Dangerous Visions, which is topped and tailed with adaptations of classic Ray Bradbury books.

Today at 2.30pm UK time, Brian Sibley's dramatisation of The Illustrated Man gets its first airing. You can listen live online from the link below. Alternatively, you can listen on demand for seven days following the broadcast.

The BBC website has some interesting background material on the production, the dramatist and the cast, and the link for listening:

http://www.bbc.co.uk/programmes/b046j2jc

And if you haven't already done so, check out Brian's own blog: every day this week he has posted audio recordings of his previous Bradbury dramatisations - and very good they are, too.

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Friday, June 06, 2014

BBC Bradbury



The BBC web pages for the forthcoming Ray Bradbury adaptations have started to appear. The page for The Illustrated Man by Brian Sibley is here!

My original blog post about the shows is here.

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Thursday, June 05, 2014

Two Years On

 It's now two years to the day since Ray Bradbury died.

Interest in his work continues, and has perhaps even intensified. Coming soon are:

Meanwhile, in Hollywood, Disney is planning its second attempt to film Something Wicked This Way Comes with Seth Grahame-Smith as writer-director. And in just over a week, BBC Radio 4 will be topping and tailing its season of SF dramas with two new productions based on The Illustrated Man and The Martian Chronicles.

In the last year we have seen academic texts about Bradbury's works:

Finally, we have seen Bradbury's office contents shipped to the Center for Ray Bradbury Studies for preservation future study, and the sale of the Bradbury house on Los Angeles' Cheviot Drive.
A time of change, to be sure.

Onward!



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