I’ve often drawn parallels between my experience working on Stargate and my experience here, working on Dark Matter – the production, the people, and the overall positive vibe. When Paul and I joined Stargate at the beginning of SG-1’s fourth season, we started off as co-producers but, thanks to the support of people like executive producers Brad Wright and Robert C. Cooper, we learned, took on more responsibilities, and developed as both writers and producers, gaining valuable experience on set, in prep, and in the editing room. Some eight years later, we were show runners.

And so it was with many of our fellow crew members who started small but dreamt big and, over time, were given the opportunities and support to develop their talents as writers, producers, and directors. And, I’m pleased to say, that the same supportive atmosphere and opportunities exist here on Dark Matter as well.

Paul Day has been a longtime editor; fantastic at his job. And, over the past couple of weeks, he was afforded the opportunity to step up, assume the directing reins, and start on the road to a whole other career in production. The reviews have been great – from my fellow producers, from the crew, and from Wendy Hallam-Martin, the editor cutting his episode.

Paul, directing in comfort.

Breaking down his shots in The Raza.

The Dolly Dance.

He’s a good guy and I’m very happy for him. I look forward to his director’s cut of episode 210. And more to come in time.

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