Parriott said that in order to sell the show, he had to have the show worked out, and he does indeed have a bible for it. In fact, he has the first three years of the show all worked out, along with how it would ultimately end.
I agree and think we it could have worked for a number of seasons just not on network American TV. Cable TV yes.I was encouraging the studio not to sell it and go to Syfy. And in fact they did go to them, but they did it too late and after we already aired two episodes. I said, ‘would you guys buy this if we pulled it from ABC and give it to you for free on rerun and buy us into a second season?’ But then you’ve already aired and you’re taking the wind out of Syfy’s sails, because they can’t promote it as ‘their’ show. And Mark Stern [Syfy Exec VP of Original Content] was very interested in it, but once it aired on ABC you lose your caché. And you’re done.
But we could have survived on Syfy and done many seasons.
“There was horrific stuff we didn’t show that happened on Mars. Sharon and Walker had actually lived a couple of weeks in the habitat on the planet. Half of season three would probably have taken place on Mars or in orbit around Mars, but we hadn’t worked out fully what exactly they were going to find on Mars. But we did talk in the writers’ room about possibly having the two still alive when they arrived.”
That would be May 2010...First of all, Parriott won’t yet reveal to me the ending of the show, as he’s still holding onto hopes that something will come out of left field and cause it to be revived again, in one for or another. If, in six months, the show doesn’t see the light of day again, then we may get our answer.
October 29, 2009). "How Defying Gravity would have progressed, straight from the creator"
read on for more at the link.
From what Parriott said:
Just last week I saw this in Variety:Parriott said that in order to sell the show, he had to have the show worked out, and he does indeed have a bible for it.
The networks are increasingly warming up to projects that come in the door much more fully formed than in the traditional process by which writers pitch concepts to network buyers and hope to land a script order. Spec pilot sales are becoming more commonplace, as are projects that are pitched out detailed over 13-episode arcs with the goal of securing more than just a pilot order.
"You're automatically going to get more attention when you come in with a package or a (completed) script," says a lit agent who guided a scribe client through a non-traditional sale this year.