An excerpt from Something Technical:
As I’ve written earlier, after the success of the Faster Than Light pilot, we did not receive a green light to proceed with a series. But that wasn’t the end of the story. The Director of Radio Programming at the time, Adrian Mills, did not reject the show outright. The following summer James Roy, now Acting Director of Radio Drama, approached me about doing another pilot for a summer run of the show. Presented in a half hour format, it would be Faster Than Light “light”. Unfortunately, James had no budget for it.
No problem. We took a radio play directed by Bill Lane from the archives and built a show around it. I wrote a frame for the show about auditioning for a new host. Rob’s main competition was a robot called Huey (played by Julian Ford) whose main claim to fame was starring as a robot in the classic science fiction movie Silent Running with Bruce Dern. Huey didn’t get the job. Linda Spence also acted in this pilot as a fictional Associate Producer. The concept for Faster Than Light was gradually crystallizing in my mind: it would be a fictional show about making a science fiction radio show. A show within a show. Very meta.
The summer series didn’t pan out, though. James was willing to proceed, but with no funding and very little time to write and produce ten episodes, I didn’t think I could do the show justice. Seeing as it appeared we’d have an opportunity to try again later with proper funding and adequate time, I opted to wait.
That fall we did get funding to do another pilot. For this attempt, I brought in Fergus Heywood to co-produce. Fergus had been highly recommended to me by Greg Sinclair. He enthusiastically agreed to help out. We were assigned Alison Moss as Senior Producer, who I always loved working with. I would eventually work with her on the summer replacement series Next with Nora Young. So it was a good team.
Chris Boyce, Head of the Program Development Committee, organized a facilitated session to help us further define the show. Fergus, Alison, Rob Sawyer, Chris Boyce and I all sat down to figure it out. Richard Handler, an experienced Arts producer, was also involved. This third pilot was a serious effort, but the whole spirit was completely different than the first pilot. The show would be half hour instead of an hour. It would include one full cast radio play instead of two, and it would not include a continuation of Captain’s Away, although I had written several episodes.
Chris had us come up with a mandate:
“To fire the imaginations of Canadians by presenting thought provoking encounters with masters of science fiction and fantasy along with engaging dramatizations of their work.”
When we were finally ready, I hired Wayne Richards to write and record original theme music for the opening of the show. We would use an original composition from Fergus Heywood for the closing. Having decided to make the theme of this pilot “The Other,” we secured the services of Cathi Bond, an experienced freelancer, to produce a short documentary on “the other” in science fiction films throughout history.
I wrote a high production frame for the episode that consisted of three parts. In the opening, a mad scientist creates a host for the show in an homage to Frankenstein, a classic “other” in science fiction. The mad scientist was played by Tony Daniels, who did a brilliant German accent as Dr. Frankenstein. Once the host has been created, he takes over and introduces the show. After the first part of the show, a second interlude or frame features the mad scientist conducting an experiment in which he accidentally transforms himself into a fly (an obvious homage to The Fly). Rob the host returns to usher us into the next part of the show, an original adaptation of Born of Man and Woman by Richard Matheson, adapted and directed by Barry Morgan. The end credits featured Rob as the host along with the mad scientist. Not realizing that the fly trapped in the studio with him is the mad scientist, Rob swats him.
I was attempting to seamlessly mix representational radio with presentational radio. The drama and the high production intro, middle and extro were all representational. You listened to those the way you would watch a movie or television show. They weren’t talking directly to the audience. They were meant to be entertaining as opposed to informative. Whereas the bits with Rob talking directly to the audience, and Cathi Bond presenting her short documentary, were presentational. The trick was to guide the audience from one style of radio to another without confusing them.
Ultimately the fate of the show would be determined by the Program Development Committee, a group of several experienced broadcasters assembled by Chris Boyce. I remember one of the members of this group listening to the opening of the show after I had finished mixing it. I was quite proud of it. I thought it was funny and that the sound effects and mix had achieved what I’d set out to do. This person listened to it, gave me no feedback whatsoever, and left the studio. My impression was that he didn’t get it, and didn’t like it. This did not bode well.
We finished the pilot and submitted it to the Program Development Committee. A representative of the committee phoned me sometime afterward to tell me the bad news. They weren’t going to pick up the show as it stood. They just didn’t think it worked. More work was required.
I didn’t entirely disagree. I didn’t think it had worked as well as the original pilot. The original pilot had had room to breathe. It possessed a certain charm. We hadn’t overthought it. The elements stood on their own. Rob brought a passion and an authenticity to it. The second pilot had itself been a Frankenstein monster. I liked the frame we had created for it. But I had been forced to edit the heck out of the radio play that I’d borrowed from the archives to make it fit. Even the audio quality of the radio play hadn’t been up to snuff; it had originally been recorded on tape and sounded a few tape generations old. The third pilot had more going for it. I liked the frame. I liked the opening and closing music. I liked Barry Morgan’s Richard Matheson adaptation. I liked Cathi’s piece. But somehow it didn’t all gell the same as the original.
Nevertheless, the committee still hadn’t given us a definitive “no.” They offered us a chance to make yet a fourth pilot. By now people in the drama department were calling me Wing Commander Joe, I had so many pilots under me.
So, with a thread of hope still dangling before us, Fergus, Rob, Alison and I got together to talk about it. Rob made the point that maybe the show needed to be more serious, that our problem was trying to mix humour with seriousness. Thinking of shows like MASH and Life is Beautiful, I didn’t think that was the issue, though it could well have confused the Development Committee. Rob also objected to the CBC’s obvious efforts to make the show “stealth” science fiction. They didn’t want the show to be overtly about science fiction and fantasy. They wanted it to be something else that happened to include science fiction and fantasy. I agreed with Rob on this point. There seemed to be a slight bias against science fiction and fantasy. And not only that: against radio plays, too. Against storytelling. Against the representational. (This would be made abundantly clear when the entire radio drama department was shut down a few short years later, ostensibly as a response to financial pressures.)
Which was too bad. Because by now I had refined the concept even further. I was thinking that the host should be a sonic sorcerer, with the power to do anything, be anywhere. This concept, coupled with effective, liberal use of sound effects, would have several virtues. It would allow us to harness the enormous imaginative potential of radio. If the host wanted to be on the surface of Mars, he could be there in the blink of an eye—faster than light, if you will. If he wanted to lasso a comet by the tail, he could. He could pilot a spaceship, visit Heaven or Hell, single-handedly battle an army of knights… or simply conduct an interview. It solved the conceptual problem of how to veer from the fantastic portions of the show’s “frame” to the magazine elements of the show:
FEMALE VOICE: (TREATED) Incoming vessel. You have three seconds to identify yourself before we open fire.
HOST: (TWO SECOND BEAT) (TREATED) I’m Robert J. Sawyer, commanding Faster Than Light on CBC Radio. Be advised that if you open fire, we will respond.
FEMALE VOICE: Acknowledged, Faster Than Light. What, may I ask, will you respond with?
ROB: How about an interview with Canadian Independent author Maaja Wentz?
You see how it would work? Playful and imaginative. Veering seamlessly from fantasy to reality. It would itself be science fiction and fantasy while presenting the same to our listeners.
Alas, it never happened. The committee never did say no outright, but the truth is, Faster Than Light as we conceived of it never stood much of a chance. What we wanted to do was too much at odds with what the powers that be at the time were willing to let us do. Greg Sinclair was head of the drama department at the time (but did not represent the Program Development Committee… I felt he was on my side). We discussed the project and mutually decided to pull the plug. To make it work for the CBC, we were going to have to turn it into a show that none of us believed in or wanted to do. Greg informed Rob Sawyer.
We never got the green light that I had dreamed about for so long.
Still, I wouldn’t have traded the experience for anything. I’m proud of all three pilots. Rob and I became friends. I thank him for his generosity and time in trying to make it work. Later, he asked me to read and comment on the third draft of his novel Rollback (about a man and a woman in their eighties who agree to undergo a procedure to make them younger. It only works on the man. Of course, this has huge implications on their relationship. It’s a great read.) Rob made the protagonist a CBC Recording Engineer/Producer, which is what I aspired to be. He also featured me as a character in the novel, on page ninety-nine.
I went back to my normal life working on other people’s radio shows. That year CBC Radio launched a show called WireTap. I could barely make myself listen to it, out of jealousy, I suppose. Finally listening to an episode one day, I found myself impressed. I wrote the producers of Wiretap and told them how much I liked the episode, which had included some scby Roience fiction. I used my cbc.ca email address so that they would know that it came from a colleague. Nobody from the show ever responded.
Had I managed to get Faster Than Light on the air, I would have personally responded to every single email the show received.