The first, Christopher Bland’s piece for Starweek Magazine from 1993, is a vanilla promotional write-up that, like most others, attributed the show’s shaky start to its young co-executive producer. We continue the fascinating barnacles-and-all story of the creation and development of seaQuest with these two contrasting vintage articles. ML Posted in Interviews, Media Leave a Comment on ‘Nautical Nouveau’ So Long, Futureboy… Thankfully the production was shrewd enough to maintain Lima’s visuals for the remainder of the first season and beyond (despite a proposed Hammerhead revision of the sub for season 2) and though the show would go on to showcase an impressive armada of vehicles throughout its three-season tenure, none would surpass the standards and sheer innovation as initiated by Jim Lima, the true designer of the seaQuest. With 10 episodes of the first season in the can, however, Lima, like so many other key creative personnel (O’Bannon included!) decided to part ways with the show and move on to features (his next project being Kathryn Bigelow’s Strange Days). Though critics had originally branded the show’s visuals ‘dark and murky’ the underwater FX sequences were gradually improving with each episode under Lima’s direction. Lima would eventually be made visual effects supervisor, overseeing his creations in the many demanding CGI sequences. So radical were his creations that they were an instant hit with the target demographic and hurriedly translated into model kits and toys to kick off the inevitable merchandise campaign. His concept for the main sub, for example, was unabashedly based a Squid, and the U-boat’s ‘offspring’ (the ‘Stinger’ and the ‘Speeder’) followed the same aesthetic.
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Philip Segal, and Amblin President Tony Thomopolous) not only was Lima responsible for the final designs of the interior and exterior of the futuristic submarine and supporting vehicles but also the creator of the series iconic logo (designing the ‘LimaOblique’ font from scratch).Īs described in the 1993 ‘Submerged Special’ from UK Publication TVZone above, Joe Nazzaro’s feature on the design of seaQuest reveals that despite originally being conceived as a ‘large aircraft-carrier type’ of vehicle, the seaQuest went through many incarnations before Lima wowed producers with a more organic design based on his philosophy of ‘Nautical Nouveau’. Indeed, as one of the ‘founding four’ (The others being creator Rockne S. While Richard Lewis was credited as Production Designer for Steven Spielberg’s undersea adventure series, the real auteur of the show’s pioneering visual style was a young man named James Lima. As for what he had to say about season 2 back in the day, however, look out for the next post… Posted in Interviews, Media Leave a Comment on Mack and Me… ‘Nautical Nouveau’ Still very much active today, Theodore Raimi, brother of Director Sam has always spoken very fondly about his time aboard seaQuest. Indeed, Raimi himself already had a colourful history before gaining notoriety in seaQuest and solidifying his cult status later as Joxer in Xena: Warrior Princess. Raimi to clarify might work) but in any event, the right moniker won out.
The reason for the change is still not known to date (a tweet to Mr. So how did the mistake come about? In fairness to Bill Warren and Starlog Magazine, chances are the name change had yet to happen as ‘Mack’ would be referred to in not only the pilot script but the first few episodes. So we plunge into the first of the supporting cast interviews with the first of two conversations with Ted Raimi – or Lieutenant Mack O’Neill as we knew him.īad enough that what would become one of the series stalwart characters (staying aboard for all three seasons) is referred to here as ‘ seaQuest’s Uhura’ but at the time of printing, the show was well into its first season where the character of Tim O’Neill was already a fan favourite.
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