As a longtime fan of the Dune saga, I must say that the creators of Dune: Prophecy have truly outdone themselves with this latest adaptation. Their ability to weave the intricate tapestry of Frank Herbert’s original novels while also adding fresh perspectives and nuances is nothing short of impressive.
[This story contains some spoilers from the first two episodes of Dune: Prophecy.]
The series Dune: Prophecy, after following a circuitous route, arrived on television screens, and Alison Schapker, the showrunner, was eagerly poised to grasp the helm of HBO’s new spinoff from Warner Bros.’ cherished film series.
The six-episode series, titled “The Origin of Bene Gesserit,” experienced a few transitions in creative direction before Schapker and Ademu-John were named as co-creators and joint showrunners. As production commenced towards the end of 2022, Schapker assumed sole responsibility for the role of showrunner, guiding it through to its network delivery. Notably, she previously held executive producer positions on season four of “Westworld” and served as a showrunner for “Altered Carbon” season two. Over the past two decades, her science fiction expertise has been honed across numerous projects under Bad Robot, including “Alias,” “Lost,” “Fringe,” “Almost Human,” and the previously mentioned “Westworld.” She also penned the poignant farewell of the beloved character Mr. Eko (Adewale Akinnuoye-Agbaje) in “Lost” season three.
As a fan myself, I’m thrilled that I didn’t have the chance to tackle Dune earlier. This work is such an expansive and treasured material, cherished by countless fans. Therefore, it was a delightful experience to engage with Dune later in my career, and my previous experiences undoubtedly contributed to this journey. (Schapker, speaking to The Hollywood Reporter)
Schapker and their team drew inspiration from Denis Villeneuve’s Oscar-winning movie, “Dune: Part One,” as well as the upcoming Oscar-nominated “Part Two,” to create a visually and auditorily immersive experience that seamlessly extends the film’s universe. Schapker acknowledges that the talented crew behind “Dune: Prophecy” accomplished an impressive feat, considering they had to work under TV budgets and schedules.
Initially, Villeneuve participated in the show during its initial stages, but subsequently dedicated his time to the progression of “Dune: Part Two” and “Dune: Messiah.” However, he extended a significant endorsement to Schapker. Notably, Pierre Gill – Villeneuve’s long-term associate – headed the cinematography team for half of season one.
As a gamer, I’m thrilled to share that when we venture into the world of Arrakis, the sandworms bear a striking resemblance, which Denis graciously acknowledges as an overlap. However, we yearned to explore unique facets of the Dune universe, hence, we deliberately avoided making Arrakis the main setting for our action. Instead, we chose to delve into different corners of this captivating saga.
The series devotes a significant amount of time to the planet Wallach IX, home to the establishment of the Bene Gesserit’s headquarters and school. The narrative primarily unfolds 10,148 years prior to Paul Atreides’ birth (played by Timothée Chalamet), delving into the lineage of his Harkonnen mother, Lady Jessica (Rebecca Ferguson). This ancestry is traced through two branches, as the roots of the Bene Gesserit were initially cultivated by sisters Valya and Tula, portrayed by Emily Watson/Jessica Barden and Olivia Williams/Emma Canning in timeframes separated by 30 years.
Schapker shares that we’re examining the future Bene Gesserit lineage through the perspective of these transformed Harkonnen characters, who, in 10,000 years, have become horrific antagonists. This investigation delves into the origins and history of this family, revealing a tragic tale that lays the groundwork for the eventual downfall of the Harkonnen line.
In their latest chat with THR, Schapker delves into how the culmination of The Great Machine Wars, which happened 116 years ago, shapes the tense setting of Dune: Prophecy’s interwoven timeframe.
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As a devoted fan, I recall that my professional journey commenced with a stint on the show “Charmed”. Later, when I ventured into the world of Frank Herbert’s magical realm, did the lessons I learned from “Charmed” prove useful in any way?
To be honest, the Bene Gesserit aren’t like the witches from Charmed in my mind, but genre fiction often blends magical aspects with character-driven stories. Wow, it’s been 20 years since Charmed aired, yet it was an excellent starting point. It had long seasons, a dedicated audience, and stability, which is rare these days. So, I was thrilled to have the opportunity to join in.
Following this, Monica Owusu-Breen, my collaborator then, and I proceeded to work on the series Alias. Subsequently, we joined Bad Robot Productions, which turned out to be a delightful experience. As I ascended through the creative hierarchy, gaining expertise in writing and filmmaking, all the shows I had worked on up until Dune: Prophecy became instrumental to my journey.
Indeed, you spent quite a bit of time with Bad Robot: Alias, Lost, Fringe, Almost Human, Westworld. Did your science fiction skills primarily develop during your tenure at Bad Robot?
Indeed, I’m quite content that I didn’t take up the challenge of Dune earlier. This complex work offers a rich tapestry that requires careful exploration, and it holds such a dear place in the hearts of countless fans. It was truly rewarding to encounter Dune at this stage in my career, and my past experiences undoubtedly contributed to the journey.
Was the technique of using flashbacks in Bad Robot’s projects influential in shaping the flashback storyline of Dune: Prophecy as well?
Indeed, your observation rings true now that you’ve brought it up. I genuinely appreciate being part of a series that isn’t bound by a rigid weekly formula, enabling it to explore various aspects of the characters’ lives instead. For instance, Dune: Prophecy, stands out because it unfolds over extended timeframes. Our intention was to delve deep into how the past influences the present, which proved instrumental in narrating stories about our main characters’ backgrounds and the emergence of the Sisterhood. Consequently, by contrasting two distinct time periods, we were able to address those intriguing questions more effectively.
Regarding the episode “The Cost of Living” from Lost, which you co-wrote, I found it excellent, but I vividly recall feeling disappointed at the demise of such a beloved character, Mr. Eko. Despite there being larger storylines for him, Adewale Akinnuoye-Agbaje expressed homesickness to the extent of wanting to leave the show. Given that you had to write off a fan favorite, did this task carry a mix of sweet and bitter feelings for you?
As a gamer diving into the Lost universe, I can’t help but reminisce about the unforgettable character, Mr. Eko. He was more than just a figure on the screen; he was a masterpiece. Portraying him was never easy, but it was always a privilege. The art of TV storytelling is a collaborative effort, and Damon Lindelof and Carlton Cuse, our brilliant co-showrunners, had clear visions for each episode. We simply did our best to bring their ideas to life. But, saying goodbye to Mr. Eko was definitely bittersweet.
Speaking of the same topic, I found season four of Westworld to be the best the series has offered so far. Considering that the show is approaching its final season, number five, it’s puzzling why production companies choose to leave so many incomplete stories on their streaming platforms. It seems to me that a fully concluded story would have more lasting value than one left at 80% completion.
(Schapker nods in agreement)
Was that a frustrating turn of events?
As a devoted viewer, I must admit, the finale left me with a pang. I’ve always admired Jonah Nolan and Lisa Joy’s narrative prowess, and their unique perspective on that series really grabbed my attention. I hoped they would conclude it according to their own vision. The story, like fine wine, grows more intriguing over time. It delves into the rise of artificial intelligence, a theme that resonates more deeply with each passing year as our society becomes increasingly immersed in its implications. Westworld seemed to anticipate the questions we’re now grappling with, and I believe its relevance will only grow. Yet, deep down, I still cling to the hope that somehow, someway, Westworld might yet find a way to bring its story to a close.
Yeah, Jonah and Lisa still talk about it as if they’ll finish it someday.
I get excited every time I read that! I really do. I wish it tremendously well.
The termination of Westworld provided an opportunity for you and Dune: Prophecy, which seems to have undergone a significant journey during its production. Could you share some insights about the sequence of events that led you to become the showrunner for this series?
After wrapping up work on “Westworld” and being offered a role in “Dune”, it was clear that they were planning to delve into the origins of the Bene Gesserit. From the novel “Sisterhood of Dune” by Brian Herbert and Kevin J. Anderson, it’s well-known that the second Mother Superior of the Sisterhood is a Harkonnen named Valya Harkonnen, with her sister [and Reverend Mother], Tula Harkonnen, following closely behind. This means that at the core of this female institution, we have these sisters who are Harkonnens. Given the intrigue surrounding the Bene Gesserit, this premise was very compelling. So, our focus is on exploring their story through the perspective of these Harkonnen characters, who will ultimately become monstrous villains in 10,000 years. We’re peeling back the layers to understand where this family originated and what led them down this destructive path. This tragic tale also sets the stage for the future development of the Harkonnen family. I was fortunate enough to collaborate with [former co-showrunner] Diane Ademu-John, and since then, I’ve been involved in production and post-production for the past two years.
Is the series derived from both the initial “Dune” novel and the mentioned “Sisterhood of Dune,” or do you draw elements from the entire “Great Schools of Dune” prequel trilogy, which encompasses the later books as well?
Absolutely, those books served as a significant source of inspiration for us, and our series’ chronology is closely linked to events depicted in the “Schools” trilogy.
And how much whole-cloth invention did you have to do?
Working together with the Herbert estate, we delved into Valya’s story as she ascended to power as the second Mother Superior in a time of great turmoil within the books. However, once her position was secure, we wanted to explore more about our own narrative, deeply rooted in the books but offering fresh perspectives. In the television show we were developing, we desired to portray a more seasoned Valya. We sought to reveal the measures she would take to expand and strengthen the Sisterhood, as well as how she would respond when her power was challenged or threatened.
It was clear to me within seconds that you put a lot of effort into staying true to Denis Villeneuve’s Dune movie aesthetic, as you utilized the same Futura font on screen that he often uses in his films, not just for the Dune movies.
Yes! (Laughs)
Was respecting his work a top priority regardless of his involvement?
Indeed, Legendary continues to play a significant role in both the films and our project. We were greatly influenced by the movies, aiming to create a world that would engage in a meaningful dialogue with them. For instance, when we depict Arrakis, the sandworms share a similar design as a nod to Denis’ vision. Yet, we also wished to venture into uncharted territories of the Dune universe, which is why most of our action doesn’t take place on Arrakis. Instead, we wanted to delve into lesser-known planets and construct a world that would fit seamlessly within the broader universe. Thus, while we aim to be part of Denis’ cinematic universe, we also strive to create something unique and distinct.
Was Denis just too busy developing his Dune trilogy?
By the point I arrived, Denis had already resumed work on the film aspect of the project. He planned to channel his creative efforts there. As a result, our collaborative process wasn’t synchronous, given our significant age difference. However, Denis is a fan of “Dune”, and I’ve had the privilege of conversing with him, so I eagerly anticipate that he will find this aspect of the universe and era enjoyable.
I was impressed by the way your team managed to uphold the quality and visual appeal of the movies. Given that the original Dune won numerous Oscars for its production, and considering how Dune: Part Two is expected to win more, maintaining such high standards will certainly be challenging.
Oh my god, I know. Especially on a TV budget and a TV schedule.
Have you ever discussed this topic with director Craig Zobel, who was responsible for maintaining visual consistency between The Batman on the big screen and the small screen? Were you given any technical specifications or a ‘handoff’ from the film’s department heads in that regard?
Indeed, Pierre Gill, our DP, contributed additional cinematography to the epic production of “Dune”. Being a close associate of Denis, he was well-acquainted with the challenges involved in aligning our series with the same cosmos. Our team heads held the films in high regard, yet they were determined to establish their unique niche within this universe through innovative world-building. The craftspeople and team leaders on our set were exceptional individuals I’ve had the privilege of collaborating with, and their work was driven by a profound admiration for the source material and the films.
The Sisterhood has not yet become the Bene Gesserit in its entirety. It appears to be grappling with its own identity, finding itself pulled in opposite directions by two distinct approaches it is considering for the future.
In a period when society is transitioning from the aftermath of an extensive interstellar conflict that nearly wiped out humanity, this relatively new institution is grappling with fear and mistrust towards technology and artificial intelligence due to their past as oppressors. As a result, they’ve prohibited thinking machine technology, leaving them with significant gaps in their capabilities. Consequently, humans are striving to define what it means to be human by pushing the limits of their abilities in an attempt to fill these voids. One such example is the Sisterhood, who possess seemingly supernatural powers as we understand them in 2024, and in the Dune lore of the future, have extraordinary mind-body control through these abilities. However, these powers come with substantial risks.
I view our show’s central narrative as an era marked by reconstruction and creativity, yet fraught with risk. There’s widespread apprehension about regression, and the Sisterhood echoes these concerns. They’re striving to steer humanity away from war, oppression, and self-destruction towards a more promising future. This objective is commendable and noble, but the Sisterhood’s commitment to it may vary depending on who holds power, as their personal connections to this goal differ among themselves.
In the Dune films, the Harkonnens are portrayed as undeniably evil, but your series appears to be emphasizing that the Harkonnen-Atreides blood feud isn’t as straightforward as it initially seems.
That’s right.
Is it all just a matter of perspective?
Indeed, it’s worth noting that history isn’t always straightforward or truthful. The portrayal in films of the Atreides as virtuous heroes and the Harkonnens as villains serves its purpose, but it raises questions about how they arrived at these roles. As Valya Harkonnen suggests, the recorded history might be built on a falsehood that led to her family’s downfall and exile. An event, possibly heroic in nature for one of their ancestors, was instead portrayed as cowardly, which resulted in their loss of noble status. However, we should consider Valya’s credibility as a narrator since her anger and ambition stem from the belief that she was unjustly deprived of what rightfully belonged to her family.
In the movie “Dune: Part Two”, a substance called Rossak poison was mentioned as something that the Sisterhood employed before using the Water of Life. Was this reference drawn from the book itself or was it included to provide familiar elements for audiences who are casual fans of the films?
Everything we see unfold in the story can be traced back to the written accounts. I’m just as curious as anyone else about how the Bene Gesserit conceived the notion of connecting with their female ancestors’ wisdom. This intriguing concept is somehow connected to the Rossak poison and the Water of Life, which are later depicted in the films. Similarly, the origin of the Voice remains a mystery, but it too is detailed in the books, and we found it captivating to bring this unique occurrence to life within a specific context. The Bene Gesserit adhere to a motto: “Crisis. Survival Advancement,” which suggests that crises serve as catalysts for unlocking new abilities. As such, all the intriguing aspects of the story are drawn from our source material, and we were meticulously digging into our literary mine.
Absolutely, we kept in mind that there might be fans eager to learn more about the films, but at the same time, we aimed to make the TV show accessible for newcomers. This was a deliberate decision we made, and HBO shared this vision. Our goal with “Dune: Prophecy” was to offer depth for those familiar with “Dune,” yet keep it open enough to serve as a starting point for those just discovering the universe.
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Dune: Prophecy releases new episodes Sundays at 9 p.m. on HBO/Max, streaming on Max.
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2024-11-25 06:25