Dean Devlin, co-showrunner/EP Jonathan Glassner, writer, director, EP- "The Ark"
Updated: Apr 19
The Arc: A Must-Watch for Sci-Fi Fans
With Devlin's experience in producing blockbuster films like "Independence Day" and "Godzilla", and Glassner's background in producing and writing for hit shows like "Stargate SG One" and "The Outer Limits", this dynamic duo brings a wealth of knowledge and expertise to create an immersive space world with intricate plotlines and compelling characters. "The Arc" has gathered a dedicated following for its imaginative storytelling and stunning visuals, making it a must-watch for all Sci-fi fans. Special recognition was given to Production Designer, Randall Groves, who did an excellent job designing the show's world. With the finale airing this week, catch up on all episodes on Peacock, where you can binge it all. Also, exciting news for Sci-fi fans, as "The Arc" has just been picked up for a second season. Congratulations to the team!
The Arc: A Must-Watch for Sci-Fi Fans Designing a Post-Apocalyptic Future World: Insights From Hollywood's Top Creators
But after seeing the sets up, did it make you want to write more to any particular sets?
Dean Devlin: I think the biggest influence was just when John and I were walking on the set when it was first built, is we both became, like, 13 years old.You're on the spaceship and it's cool. And all the hallways, they had ceilings. And as you know, most sets don't have ceilings. So usually you'reon a set, you're very aware you're on a set. But when you're on a set, like these hallways where everywhere you look, you're seeing reality, youstart to feel like you're on a spaceship. It was really cool.
Can you talk about the balance of Sci-Fi elements versus the human drama in the show? Like how you interact all thestoryline?
Jonathan Glassner: Well, for me, it's human drama first. For me, the science fiction is almost an arena to play the human drama in. It shouldn't be the forefront of it.We come up with some really cool Sci-Fi ideas, but it's always with an eye to how will our characters react to that. Right. What would be themost impactful for Garnett? This or this? And we do it that way.
How did you come up with the premise of this show?
It started with a lunch I had with a man named Michael Wright who used to run TNT when I did the leverage in the librarians there. And we werejust reminiscing about the type of science fiction shows that we really loved. And Michael was saying, I would so love to see another showabout a group of people all confined on a spaceship, going to some destination with a hope of a new beginning. And then we just startedreminiscing about all the shows that made us want to make television. And after that meeting, I kept thinking, yeah, I've always wanted to do aspace show, but if I were going to do one, what would be the take that would make it different? Why should you watch this one if you've alreadyseen all the others? And that's when this idea came about of, okay, but what if the people on the ship are not the people who are meant to runthe ship? That all the people that were meant to run the ship. All the teachers, all the engineers, all the scientists. What if they were all killed ina terrible accident in the first scene, and now everybody who's left has to step into these roles that they weren't really prepared for? And thatbecame really kind of exciting. And when I pitched that to John, that's what he jumped on. And then we just started rolling with that.
Listen to the full interview for more!
But I think it is important to know about this creative writing side of the business because it's where it all starts. It's an idea that becomes astory, that becomes real to people making it and to people watching it. And it's just an amazing process and definitely part of this magic ofworking in Hollywood. So him telling the story of meetings and ideas coming out and then developing that idea is just that's creativity at itsfinest. I mean, you take something and you develop it, and then you put words to it, and then I'm on the set decorating it. It's crazy.
Transcript
Kim Wannop [00:00:07]:
Decorating Pages is a podcast dedicated to taking you behind the scenes of the designs of your favorite TV shows and films. Each episode, I'll be sharing design stories from some of Hollywood's most famous sets.
Kim Wannop [00:00:20]:
Interviews from set decorators, production designers, directors and actors about creating the look of.
Kim Wannop [00:00:26]:
TV and films, about their design inspirations and stories that take steps from page to screen.
Kim Wannop [00:00:40]:
Hello there and welcome to Decorating Pages. I'm your host, Kim Wana. How are ya? Hope you had a good holiday. It's Easter passover spring break with the kids. Hope you survived. I get it. Yeah, I went away. I went back east, Philly, south Jersey, and met new cousins, new babies. Had a wonderful holiday through my mama's surprise party. It was great. Had a really great time. And I'm back. And double prizes. Both of my American airlines flights had WiFi working, which hasn't happened in a.
Kim Wannop [00:01:21]:
Long time, I would say.
Kim Wannop [00:01:23]:
So I actually got to watch something while my kids watched all their stuff. But I hit the fablemans finally, which I know I've seen really bits and pieces, and I've seen Rick Carter's work and Karen O'Hara's work, and I think it's phenomenally done, just the style of it and every nook and cranny of that is so lived in and so layered and aged, and the palette is great. It's just a beautiful film. I didn't really like it, to be honest. I don't really like Michelle Williams. And I don't really like Paul Dano. I think Paul Dano's best performance was little miss sunshine when he was quiet through most of the movie. I don't know. Well, no, he was actually really good. And there will be blood. I got to give him that. Not a big fan of it. He's so, like, restrained, and I understand he's playing someone. I think I just wanted more film excitement. Spielberg being a kid in films, and I know how many times can we watch a kid make a film, but I don't know, carry it into college? I don't know. And the whole thing with the mom, I just wasn't into it.
Kim Wannop [00:02:44]:
And I know a couple of my friends really like that movie, and I.
Kim Wannop [00:02:47]:
Feel bad, but no. I got to see a little bit of a man called Otto production designed by Barbara Lang and three decorators jessica Anderson, Frank Galene and Michael Amato. I only got to see about a half hour, 45 minutes of it, and.
Kim Wannop [00:03:09]:
I think I'd continue on. I don't know.
Kim Wannop [00:03:12]:
Did anybody see that? Is it worth it? I don't know. I haven't heard a peep about that movie, but it kind of interests me. And Tom Hanks being a cranky old man is kind of fun. It's not too heavy, although a little bit of the subject was heavy. But yeah, I don't know. I'm sure all anyone can talk about right now is secession and poof. That third episode was extraordinary. I just think extraordinary writing and directing and the camera work of how you follow these people and these actors really portraying finding out that your father has died, it's just fantastic. It was fantastic. I'm recording this before Sunday, so I guess I should wait to talk about episode four. But I'm sure it's going to be great anyway. But I don't feel like anyone was super surprised that he died. I mean, the show is called Secession. We all knew it was going to happen, right? I think we all thought maybe first season an awful episode when he was in the hospital. The most boring hour ever. But no, it's so good. Secession is so good. And the helicopters in the yacht and like, so good.
Kim Wannop [00:04:42]:
We actually talk a little bit about.
Kim Wannop [00:04:43]:
It in this interview, but just loved it. I love secession. I'm watching Perry Mason. I think it's better than the first season. Production designer Keith Cunningham and set decorator Helena Swab. I just think the story is better. I think Matthew Reese has lightened up a little. And that's his name, right? Matthew Reese? Yeah, I do. I like Perry Mason. And this past week or so, the Marvelous Miss Maisel is on Amazon in its final fifth season with production designer Bill Groom and Seth decorator Ellen Christensen. It's just perfect. Everything about that design of that show is just perfect. I love it. I just want to eat it up and just I'm dazzled by it every time. And the costumes and the hair and the makeup, those are all my favorites. And I'll tell you, and I've said this before, I'm not a big fan of Miss Maisel because I feel like her dialogue is like that whole singing songy way. I just can't stand it. But I was never a fan of Monk and Tony Shalube is so funny to me in this show that I laugh out loud at least once every episode because of one of his lines. I just think his delivery and everything is so good. Their first episode, they're in the TWA terminal in New York and they make that look amazing even though it is already in the second episode, they unveil these like a late night show office, comedy offices and almost like a production office, really. And I thought those were done fantastic. It's kind of like a more lighter, brighter, Mad Men type of office, which is nice. I don't understand. They do this flash forwards. Now they're trying to tell you the end of the story where she ends up and everything during the episodes. So they had her on the 60 Minutes interview and I cannot for the life of me understand why it's in, like some shipping yard. I don't know. Maybe they'll reveal that later. But it's completely odd to me. And then as they go on, they do Israel. So there's a whole storyline how she's kind of a bad mother, which I have been saying since the very beginning. And what a horrible mother she is. So I'm glad that they're acknowledging that in the storyline and making light of it at least a little, because she's a horrible mother. Anyway, I think it's going to be.
Kim Wannop [00:07:31]:
A good farewell season, so I'm excited. I'm three episodes in.
Kim Wannop [00:07:34]:
I think they released the first three all at once. So dive into that if you can. I'm really enjoying that one.
Kim Wannop [00:07:41]:
On this episode.
Kim Wannop [00:07:43]:
I'm talking to Dean Devlin and Jonathan Glassner, who are the creators of the Sci-fi Network show The Arc. It's a drama that explores a postapocalyptic world in space. Devlin is an accomplished filmmaker with experience producing movies like Independence Day, Godzilla, and while Glassner has produced and written for popular Sci-Fi shows like Stargate SG One and The Outer Limits, together they bring a wealth of knowledge and expertise into the Arc, creating an immersive space traveling world with compelling characters and intricate plotlines. This show has garnered a dedicated following for its imaginative storytelling and stunning visuals, making it a must watch for all Sci-fi fans. It was an absolute pleasure to speak with them. And I am glad I got to tell them that their influence on me and other people in Sci-fi, I'm just kind of in all that and well done job to the production designer, Randall Groves, who I have worked with and didn't realize when I got the invitation to talk to these two, that Randall had done this series. And I having just done Sci-fi, or I guess it's not Sci-Fi frol mankind isn't Sci-Fi. But having done Space, I really appreciate his designs, and I think it was just really well done design wise. The finale is on this week, so check that out. So then you can binge it all on Peacock. It's a Sci-fi Channel. It's a Sci-Fi network show, but you can binge it on Peacock if you want. And I find out in this interview that they were just picked up for season two. So bravo and congratulations. So I hope you enjoy.
Kim Wannop [00:09:55]:
I see you and I hear you. That's perfect.
Jonathan Glassner [00:09:58]:
That's all that matters.
Kim Wannop [00:10:01]:
No, I can't usually I have some sort of audio issue, so Ace is already this is fantastic. Thank you so much. I know all of our time gets a little crunched up, so thank you so much for getting this together. I really appreciate it. How are you? Good.
Jonathan Glassner [00:10:18]:
How are you?