In the landscape of television scoring, the Battlestar Galactica soundtrack, masterminded by Bear McCreary, stands as a landmark of innovation and emotional depth. Among its most compelling episodes, “Someone to Watch Over Me” pushed the boundaries of how music could intertwine with narrative, blurring the lines between score and diegetic sound. This episode isn’t just underscored; it’s musically conceived, with the score becoming a character in its own right. At the heart of this groundbreaking episode is the enigmatic “Someone To Watch Over Me Song,” a melody that resonates deeply within the story and with audiences alike.
I. Genesis of a Musical Episode: Collaboration and Inspiration
The journey of “Someone to Watch Over Me” began unusually early in the production process, a testament to the collaborative spirit of Battlestar Galactica. Writers David Weddle and Bradley Thompson, alongside director Michael Nankin, sought input from composer Bear McCreary from the initial script drafts. This unprecedented involvement set the stage for an episode where music wasn’t just an accompaniment but a foundational element of the storytelling.
1. From “Kara Episode” to Musical Canvas
Initially envisioned as a “Kara episode,” the narrative took shape around the exploration of Kara Thrace’s (Starbuck’s) past, specifically her relationship with her absent father. Weddle and Thompson aimed to create an episode that would stand alongside other memorable installments, drawing inspiration from a fleeting scene in “Valley of Darkness” where Kara listens to her father’s piano music. This seemingly minor detail became a pivotal clue in the larger Battlestar saga.
As David Weddle explained, the idea evolved from pedestrian flashback concepts to a more inventive approach, sparked by Mark Verheiden’s suggestion of Kara’s father appearing as a “ghost” in Joe’s bar. This spectral presence, coupled with Ron Moore’s idea of Hera drawing musical notes, solidified the concept of weaving music directly into the episode’s fabric.
2. The Birth of “Slick” and the Musical Persona
The character of “Slick,” Kara’s father, emerged as a musician, making music an inherent part of his identity and interaction with the world. This necessitated a composer’s perspective from the outset. Bradley Thompson emphasized that having Slick play an instrument wasn’t just for atmosphere; it was crucial for carrying the emotional weight of the scene.
Weddle and Thompson’s early vision of Slick leaned towards a jazz-inspired “piano-playing confident,” akin to Hoagy Carmichael’s roles in classic films. However, this initial concept felt too cliché. Feedback from Ron Moore pushed them to deepen the character, envisioning Slick as a classical composer with a passion for jazz. This shift elevated Slick beyond a stock character, imbuing him with artistic depth and internal struggles.
Pictured: Bear McCreary with writers Bradley Thompson and David Weddle on the set of Battlestar Galactica, showcasing the collaborative environment of the production.
3. McCreary’s Musical Palette: Gershwin and Ravel
Seeking musical inspiration, McCreary shared a CD with Weddle and Thompson featuring solo piano pieces that embodied the desired blend of jazz and classical elements. The selections included Gershwin’s Preludes and works by Ravel, pieces from the early 20th century characterized by lush harmonies, a departure from the more primal roots of McCreary’s typical Galactica score.
The Gershwin pieces, especially, resonated with director Michael Nankin, who found them capturing the “schizophrenic – beautiful and unpredictable” atmosphere of Joe’s bar. McCreary noted the seemingly improvisational yet meticulously composed nature of Gershwin’s Preludes, highlighting the influence of Ravel within them. These musical touchstones, though harmonically distinct from the established Battlestar sound, provided a foundation for the episode’s score, subtly influencing its tone and texture.
II. The Evolution of “Watchtower”: From Dylan to McCreary
A significant challenge arose when “All Along the Watchtower” was chosen as the song Kara’s father would teach her. While lyrically powerful, Bob Dylan’s original composition, musically, is remarkably simple. This posed a problem for recognition within the episode, especially when stripped of lyrics and rendered on piano.
1. Reimagining “Watchtower” as a Thematic Motif
McCreary astutely recognized the limitations of directly using Dylan’s “Watchtower” musically in this context. Instead, he proposed leveraging the thematic material he had already developed in his score, specifically the “Final Four theme” introduced in the Season Three finale, “Crossroads, Pt. II.” This theme, while evocative of “Watchtower” in its instrumentation and melodic contours, was entirely McCreary’s original composition.
On-set collaboration: Director Michael Nankin and composer Bear McCreary working together to integrate music seamlessly into the narrative of “Someone to Watch Over Me.”
This strategic shift was crucial. The “Final Four theme” possessed a distinct melodic identity that could be recognized and notated, unlike the chord-based simplicity of Dylan’s original song. By embedding this theme within the episode, McCreary was not just scoring scenes; he was weaving a pre-existing musical motif deeper into the narrative fabric of Battlestar Galactica.
2. Hera’s Dots and Musical Notation
Another layer of complexity involved Hera, the child character, drawing musical notes that would later be recognized as “Watchtower.” Dylan’s song, again, presented a challenge. Its notation would be either overly simplified or complex guitar tablature. McCreary’s “Final Four theme,” however, offered an elegant solution. Its melody was concise and easily notated, making it plausible for a child’s drawing to represent it.
McCreary even provided visual mock-ups to the writers and art department, illustrating the evolution of Hera’s drawings from simple dots to recognizable musical notation of the “Final Four theme.” This direct input ensured that the visual representation of music within the episode was both believable and thematically resonant. The final result, as seen in the episode, mirrored McCreary’s initial sketches, further highlighting his profound influence on the episode’s creative direction.
Director Michael Nankin directing a scene on the set, showcasing the meticulous attention to detail in crafting “Someone to Watch Over Me.”
III. The Composer’s Struggle and Character Resonance
“Someone to Watch Over Me” took an even more meta turn when McCreary’s own creative struggles became interwoven with the character of Slick. During the writing process, McCreary was grappling with composer’s block while scoring the “Revelations” episode. In a candid phone call with David Weddle, McCreary confessed his artistic frustrations.
1. Mirroring Real-Life Compositional Battles
Instead of being a career-ending confession, McCreary’s vulnerability became a source of inspiration for the writers. Weddle and Thompson incorporated McCreary’s real-time experiences of creative struggle directly into Slick’s character. Dialogues about writer’s block, the pressure to create, and the torment of artistic doubt were lifted directly from McCreary’s conversations.
The line where Slick laments being “at it for four days now. It’s Hell,” was a verbatim echo of McCreary’s own words during his creative impasse with “Diaspora Oratorio.” This blurring of reality and fiction gave Slick an authentic depth, making his artistic journey resonate with the audience on a deeply personal level. For McCreary, watching these scenes felt like witnessing a reflection of his own creative anxieties.
Behind the scenes: Director Nankin setting up a crane shot for the pivotal “Watchtower” reveal, demonstrating the episode’s cinematic ambition.
2. Casting a Musician: The Audition Saga
The commitment to musical authenticity extended to casting the role of Slick. The production team prioritized finding an actor who could genuinely play the piano, aiming to avoid the typical Hollywood trickery of faking musical performance. Director Nankin insisted on capturing real piano playing on camera to enhance the episode’s realism and to inform the actor’s performance.
In a surprising turn, Nankin even asked McCreary to audition for the role. While ultimately unsuccessful, McCreary’s willingness to audition underscores the unconventional and collaborative spirit of the production. David Weddle acknowledged McCreary’s “great job for a non-actor” but emphasized the need for a professional actor to fully embody the character’s emotional complexity and hold his own opposite Katee Sackhoff.
Director Michael Nankin and Bear McCreary on set, highlighting the close collaboration between the director and composer to achieve a unified artistic vision.
3. Roark Critchlow: The Perfect “Slick”
Ultimately, Roark Critchlow was cast as Slick, a decision lauded by the entire production team. Critchlow possessed the crucial combination of acting ability, piano skills, and a physical resemblance to Katee Sackhoff, essential for the story’s reveals. Nankin praised Critchlow for his believability as a struggling musician and composer, his ability to stand toe-to-toe with Starbuck, and his “fatherly strength” and “sex appeal.” Critchlow’s casting ensured that the musical heart of the episode was delivered with both authenticity and emotional resonance.
IV. “Someone to Watch Over Me Song”: A Legacy of Innovation
“Someone to Watch Over Me” remains a landmark episode in Battlestar Galactica history, not just for its narrative twists and emotional depth, but for its groundbreaking integration of music. The “Someone to Watch Over Me song,” while not a song in the traditional sense, but rather McCreary’s masterful reimagining of his “Final Four theme,” became a central character, driving the emotional arc and thematic resonance of the episode.
Director Michael Nankin and Bear McCreary on set, discussing the nuances of the score and its impact on the storytelling.
The episode’s success was a testament to the unprecedented collaboration between writers, director, and composer, blurring the lines between score and narrative in audacious and innovative ways. Bear McCreary’s deep involvement from the script’s inception, his willingness to share his creative struggles, and his ingenious adaptation of the “Watchtower” theme all contributed to making “Someone to Watch Over Me” a truly unique and unforgettable television experience, forever linked to the evocative melody of the “Someone to Watch Over Me song.”
