Ronald D. Moore

See also: Moore

Ronald D. Moore (born in 1964 with Chowchilla in California) is a Scénariste and a American Producteur of television which is known for its work on the televised series of the frankness Star Trek , then on Battlestar Galactica which it created and which it directs.

Career

Star Trek: The new generation

In 1988, it manages to arrange a blow to visit the plates of Star Trek: The new generation via his/her boyfriend. Whereas he visits, he gave a script to the one of the assistants of Gene Roddenberry which sufficiently appreciated it to help it to find an agent which subjected the script in a more conventional way. About seven months later, the executive producer Michael To plunder lute script, bought it and this one became the episode of the third season “Filiation”. As from this moment, one offered opportunity to him of writing the second script which carried out it in the staff of the production as a editor of script. Two years later, it was promoted Co-producer, then producing for the final year of the series (1994).

Moore developed a reputation of expert Klingon in the team of writing, responsible for the writing of a number of episodes which developed the race and the culture klingonnes, while starting with “fished of the father” which introduced the world-mother of Klingons, the High-Council klingon and the chancellor klingon, and by continuing by “Meeting”, “Redemption, having left 1 and 2”, “Ethics” and “legitimate Heir”.

During its period the new generation , it was credited with the writing or Co-writing with 27 episodes. It often has Co-writing of the episodes with Brannon Braga, creating a profitable employment relationship which led them to opportunity of writing the double final episode of the series, “All the good things…” (which gained the Prix Hugo 1995 of the best dramatic presentation). The series also gained a nomination with the Emmy Award for the “best drama series”, losing the title vis-a-vis funny of sheriff .

The comparses also wrote the scenario of the first appearance of the new generation to the big screen, Star Trek: Generations ; it was the idea of Moore to withdraw the captain James T. Kirk of the original series Star Trek in this film.

Star Trek: Deep Space Nine

Moore then joined the staff of production of Star Trek: Deep Space Nine whereas the series was at its third season. It was a supervisory producer there, for then being promoted producer Co-executive for the two last years of the series. During this period, he again worked with Braga on the script of second film of the new generation , Star Trek: First Contact and on a draft of the script of Mission: Impossible 2 , script which was rewritten thereafter by Robert Towne. They were then credited as authors with the history.

During its work on Deep Space Nine, it continued to write episodes which extended the culture klingonne, like “the House of Quark”, “the Wire of Mogh”, “the Rules of the combat”, “Bad Par' Mach”, “the Soldiers of the empire”, “You are cordially invited” and “Of return to the combat”. He also wrote episodes treating of subjects controversies like the genetic Engineering (“Dr. Bashir, I suppose? ”); he Co-wrote the episode which included/understood the first kiss of two people of the same sex of the frankness (“the Interdict”) and killed another popular character, Bareil Antos (“To survive at all costs? ”).

He made efforts to found a debate with the fans by regularly posting answers to questions of fans about forums AOL or to take note of their appreciation of the series, a practice which he will perdura during his work on Battlestar Galactica via his Blog and its Podcast S.

Star Trek: To travel

With the end of Deep Space Nine in 1999, Moore joined the production line team of Star Trek: To travel at the beginning of the sixth season, where its partner of Braga writing was executive producer. But Moore left the adventure later a few weeks, having only two episodes with its credit. In an interview of January 2000 for the magazine Cinescape , Moore told that its short duration on the series was due to problems in its employment relationship with Brannon Braga:

" I cuts very hurt feelings Brannon butt. What happened between He and I is just between He and I. It has breakdown off trust. I would cuts quit any show where I was not allowed to participate in the process like that. I wasn' T allowed to participate in the process, and I wasn' T leaves the show off. I felt like I was freelancing my own show. … I was very disappointed that my length-time friend and writing partner acted in that manner, that crossed lines to the not where I felt like I had to walk away from Star Trek, which was something that meant has batch to me for has very long time, from my childhood right through my entire professional career."

Since it left Voyager , the fans often suggested Moore like possible successor to carry out the frankness Trek . Moore and Braga solicited Voyager once finished. One can hear them speak together on the track about comments about edition DVD about Star Trek: generations and Star Trek: First contact .

After Star Trek

After having left To travel , Moore briefly worked as a producer consulting on Good Versus Evil before joining Roswell as a producer Co-executive and a scenario writer for the second season in 2000. Moore and the creator of the series, Jason Katims carried out together Roswell until the oddment in 2002. Moore also wrote some of the most popular episodes, among which “Crisis situation” and the last episode of the series “Towards the future” Co-writing with Katims. He also wrote the episode “Suspect death”.

During this period, Moore also developed a pilot based on the Ballade of Pern of Anne McCaffrey for The WB, but the production of this project was abandoned because of “creative differences” between Moore and the television network.

In 2002, after a preceding test missed by Bryan Singer and Tom DeSanto, David Eick (with which Moore worked on Good Versus Evil ) approached Moore in connection with a news télésuite Battlestar Galactica for Universal. Moore developed the télésuite with Eick, writing scripts and giving to the last style the old series, also developing a history being able to function as a weekly series, if the success of the télésuite followed. At the same time, Moore was approached by HBO to turn new televised series called the Caravan of strange the , but the chain finally decided to offer the place to Henry Bromell and gave a place of consultant in the team of writing. It accepted, but then Bromell left the production shortly after and Moore became the engine of the team. Whereas Moore worked over the first year of the Caravan of strange the , Eick worked on the production at the day-the-day of the télésuite Battlestar Galactica with the Canada. The télésuite was diffused in 2003 and had the best audience of a télésuite on the American cable this year, in addition to the best audience for the chain Sci Fi Chanel until there. After the Caravan of strange the reached the end of its first season and that Sci Fi Chanel ordered a series of thirteen weekly episodes of Battlestar Galactica , Moore left the Caravan to take up the duties of executive producer to full with Battlestar Galactica .

Moore currently works on the script of a remake of film of 1982 The Thing .

Battlestar Galactica

The series Battlestar Galactica began in October 2004 with the the United Kingdom and in January 2005 with the the United States.

The réinvention of Battlestar Galactica by Moore has a tone much more serious than that of its base, something which one could entrapercevoir in his interview of 2000 for Cinescape , where he discussed what he regarded as the fundamental problems Voyager .

" The premise has batch off possibilities. Before it aired, I was At has convention in Pasadena, and Sternbach and Okuda were one training course, and they were answering questions from the goes down for hearing butt the new ship. It was all very technical, and they were talking butt the fact that in the premise this ship was going to cuts problems. It wasn' T going to cuts unlimited sources off energy. It wasn' T going to cuts all the doodads off the Enterprise . It was going to Be rougher, fending for themselves more, having to trade to get beg that they want. That didn' T happen. It doesn' T happen At all, and it' S.A. binds to the goes down for hearing. I think the goes down for hearing intuitively knows when something is true and something is not true. To travel is not true. Yew it were true, the ship would not look spic-and-span every week, after all thesis battles it goes through. How many times has the bridge been destroyed? Does How many shuttlecrafts cut vanished, and another one just comes out off the oven? That kind off bullshitting the goes down for hearing I think takes its toll. At does not summon the goes down for hearing stops taking it seriously, because they know that this is not really the way this would happen. Thesis people wouldn' T act like this."

Moore wrote the first two episodes of the new series, of which the first “33 minutes”, gaining the Prix Hugo of the best dramatic presentation of short duration, the second of the career of Moore. In 2007, Moore was again nominated for a Emmy Award for the writing of the episodes Mission-suicide and the Great Raid, which were diffused together like the first episode of the third season.

Rewards

; Emmy Award S

1994: Better drama series for Star Trek: The new generation (nominated)
2007: Better writing for drama series for Battlestar Galactica (episodes: “Suicide mission/the Great Raid”) (nominated)

; Price Hugo

1995: Better dramatic presentation for Star Trek: The new generation (episode: “All good things… ”) (gained)
2005: Better dramatic presentation of short duration for Battlestar Galactica (episode: “33 minutes”) (gained)

; Peabody Award S

2005: Peabody Award for Battlestar Galactica

Catalog of films

Producer

Scenario writer

See too

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