Tag: Dirk Maggs

Dirk Spielberg

I think I’ve been saying this for some years now, and most recently in the Bill Hollweg Retrospective but Dirk Maggs is to the audio drama medium as Steven Spielberg is to movies. Master of the Film Source of the modern audio drama movement, Mr. Maggs has been working tirelessly producing action adventure audio for many years now.

So naturally Audible Range asked the question Who is this Dirk Maggs and why does he rule so hard? Because one of the wonderful things about Audio Drama is it keeps getting rediscovered again and again!

Dirk speaks about his experiences with audio drama and his new X-Files release. Check out the interview, and if you want to hear the man himself as he abides, check out our interview Maggsnifiscent Audio.

The Four Sources of Audio Drama Story

The world Modern Audio Drama movement seems to be in full swing with Audibles announcement in driving paid audio productions for the future, so it’s worth considering what are the story sources that drive audio drama tales.

1. Stage Plays: Many great audio drama from the classics of Theater Five, Radio City Playhouse, Campbell Playhouse, and First Nighter to the modern shows of Crazy Dog AudioBunbury Banter Theatre, and Chatterbox Audio.

Elements You May Find in Stage Play Sourced Audio Drama:
– Classic re-tellings of literary or dramatic stories (like Oedipus, Shakespeare, Mark Twain and others)
– Experimental theatre using the conventions of audio drama to specific advantage (like “Danger” with the entire story in the black out of a coal mine, or taking the perspective of an elbow talking to an eyeball on the same body)
– Staged settings that feel like you are watching a live performance
– Stage presentations with actors who project as if from a stage to a live audience
– Sound Effects and Music that are produced live during recordings
– Recordings where actors are miked in the same session
– Stories focused on deep themes and imagery
– Stories that can be character driven

2. Radio Plays: Old Time Radio Drama produced it’s own style of storytelling from Dimension X, Gunsmoke, and The Adventures of Sam Spade to Decoder Ring Theatre, Campfire Radio Theater, and The Thrilling Adventure Hour.

Elements You May Find in Radio Play Sourced Audio Drama:
– Serialized stories in fixed lengths
– Series narrators that establishing setting, initial conflicts and mood
– A wide-variety of genres but especially emphasizing science fiction, fantasy and horror
– Minimal sound effects
– A focus on plot driven stories
– Cross-over characters and plots from similar themed series
– Six or less characters a show
– Continuing characters in a series

3. Movies (Cinematic Film): While television owes much of its format to Radio Plays, cinematic storytelling has a long history from Lux Radio TheaterAcademy Award Theater, and Star Wars NPR to The Witch Hunter Chronicles, Second Shift, Broken Sea Audio, and the works of Dirk Maggs.

Elements You May Find in Film Sourced Audio Drama:
– Rich Soundscape with textured sound effects
– Modern storytelling with complex social issues
– Long-form serials based on popular cinematic themes/stories
– Profanity and adult situations
– Large casts of characters
– Modern and rich musical themes

4. Podficts (Podcast Fiction- Youtube Confessionals/Public Radio): For a while, it looked like many audio dramas were coming strictly from a public radio style of documentary format like This American Life and WireTap but certainly some of the same story impulses have arisen from the “confessional” style of video seen in youtube such as LonelyGirl15. You might consider this audio drama style postmodern examples are plentiful from Lost in Williamsburg, The Black Tapes, Tanis to Subject: Found, The Box,  and Point Mystic.

Elements You May Find in Podcast Fiction:
– First person storytelling with host/narrator
– Personality-based (often person) stories with emphasis on social issues and diversity
– Long form “chapter” episodes often with recaps for previous weeks and previews for next episodes
– An emphasis on informal, often slang dialogue filled with regional colloquialisms
– A variety of production techniques from simple to complex adding to the tone of the storytelling
– Documentary or “Found Footage” style storytelling

Each of the Four Sources have their own benefits and drawbacks and often cater to different listening audiences. If you’re a writer, which style do you prefer? If you’re a fan, which do you seek out to listen?

Top 5 Hardest Working Producer/Writers in Audio Drama Today

otrmikeAudio Drama is replete with people who put their nose to the grindstone. Many producers work extremely hard to produce incredible productions. But who are the hardest working producer/writers in the modern audio drama movement? To tunnel down the list, it’s important to keep in mind that many producers like Dirk Maggs (Perfectly Normal Productions) and John Ballentine (Campfire Radio Theater) take longer to produce very high level productions. To make our list of hardest working producers/writers we have to look at consistent releases, and a hand involved in all parts of the process from writing, directing, acting, and audio editing.

Here’s our list.

5. Bill Hollweg (Broken Seas Audio)

While Broken Seas has slowed down its production releases from their heyday several years ago. One producer remains tireless in his production grind. Working daily to produce everything from original shows such as Jake Sampson- Monster Hunter, The Saga of the Grog & Gryphon, to 2109 AD, to his beloved recreations and adaptations to Planet of the Apes, Battlestar Galactica, a certain unmentionable dark haired barbarian, and most recently Amity- Dark Waters, Bill continues to tirelessly provide entertainment to the BSA fan crowd. His dedication to all things audio drama extends to his love song to the old time radio days with Swagcast where he painstakingly works to get rid of the buzz from the poor recordings to provide clearer production sounds. Bill works several jobs, and natural insomnia has him up editing and writing late at night and early in the morning before his classic work day begins.

4. Pete Lutz (Narada Radio Company)

Deep into season three, Peter Lutz is following in the footsteps of his hero Orson Welles in creating the anthology series Pulp-Pourri Theatre. In three years, Pete has produced over thirty shows pulled from public domain pulp stories, classic theatre tales, and original scripts. Rumour has it, Mr. Lutz is working steadily on a long series of western stories to be produced by NRC. Award winning, Pete Lutz keeps rolling out more and more hour long and multiple hour long productions that he puts in archive.org for your listening pleasure!

3. Gregg Taylor (Decoder Ring Theatre)

Moving down from our solid second place spot is Gregg Taylor from Decoder Ring Theatre. Perhaps one of the most prolific writers in the modern age of radio drama, Gregg used to release a brand new show every other week. A release schedule that was only breeched once since they began eleven years ago (the same time as The Sonic Society by the way). Gregg has moved more recently to a monthly release schedule, but that doesn’t mean he’s become less productive. The author of over a dozen novels and comics, based on his iconic brands The Red Panda and Black Jack Justice as well as other stories, Mr. Taylor epitomizes- the now legendary mantra update- of “how to get to Carnegie Hall” for successful podcasts everywhere, “How do you get listeners? Consistency. Consistency. Consistency.”

2. Jeffrey Adams (Icebox Radio)

If there is one true innovator in the world of free modern podcast audio theatre it is Jeffrey Adams. Jeff created Sound Stages which began initially as a precursor to the Sonic Society and then transformed into the 24 hour, seven days a week live audio drama Internet radio station that you can hear today. Jeff’s original works became the award winning foundation of his stories that he set in “the land of the Icebox” near International Falls. Icebox Radio officially became a non-profit organization with memberships, donations and an executive council. Most recently, Icebox Radio has made the transition to Radio Icebox in which Jeffrey has taken his talented pen, directing skills, and production experience to run a continuous serial about a strange northern town cut off from the rest of civilization.

1. Jerry Robbins (Colonial Radio Theatre)

There are several talented audio drama companies, very few are driven predominately by a single writer, director, producer, and actor. For over two decades Jerry has written and produced hundreds of radio plays- first released on cassettes, then CD’s and now through downloads. Colonial Radio Theatre has been given dozens of awards, and has had the opportunity to work with personalities such as Ray Bradbury and Walter Koenig. Jerry has written and produced well over a hundred episodes of his western saga Powder River and their catalogue includes everything from children’s tales, horror, mystery, drama, comedy, action adventure, historical drama, fantasy, and science fiction. CRT has adapted classic novels, famous plays, comic books, and television shows. Jerry has also created such indelible original series such as Jerry and the Pirates, Beacon Hill, Royall House, The Dibble Show, and Ticonderoga. His production from William Luce‘s radio adaptation of the one man play Jerry became known for Barrymore tops this reviewer’s list of must listen audio. There is little doubt as to why CRT remains at the top of Amazon audio book charts month after month because they are always producing, and always releasing.

 

This list is far from complete. There are so many writers and producers out there that work extremely hard on their productions but may have more spread out release dates. Some are fairly new on the scene (only a year or two beginning). Many more take long deserved hiatus from their works, and still others find life interrupts their passion for making radio plays.

This list is not meant to overlook the fantastic community of which I happily belong, nor suggest that one radio drama production is arbitrarily better or worse than others, but rather to give my thanks to those who work and release consistently and unendingly in their pursuit to provide to us- the listeners- their audio dramas.

Thanks to all, and may the list above inspire you to get more productions out there!

Alien Radio

AlienOutoftheShadowsAfter watching both Alien and Aliens, I was certain of one thing… all the chatter between the humans on the comm-links with the heartbeat sounding scanner would make a terrifying audio drama version if someone ever did it.

Well, they did. Or rather he did. The “he” in question is none other than the Wizard of Aud- Dirk Maggs. Hero writer/producer of Neverwhere, Batman-Knightfall, Superman on Trial, Gemini Apes and dozens more that are often considered the gold standard of new audio drama. Mr. Maggs has produced Alien: Out of the Shadows by Tim Lebbon, which releases exclusively out of Audible April 26th. Listen to a clip of this soundscape sorcery at this moviebuzzers article and find out about the star-studded cast! Suit up!

Not a Movie

nomovieRecently, I had a discussion with a long time audio drama producer of literally hundreds of shows. Our conversation turned to various topics around our favourite medium. At one point, we focused on how many new audio dramaphiles seem to be coming from the Dirk Maggs school of radio drama production. Mr. Maggs is the phenomenal writer/director/editor/producer of many hits including Batman: Knightfall, The Gemini Apes, and most recently Neil Gaiman and Terry Pratchett’s Good Omens. In a Sonic Speaks interview, Mr. Maggs spoke of his love of cinema and his desire to make movies, but found audio drama more flexible and creative. It got me wondering, if he is one of the few exceptions that “proves the rule”.

So many people see radio drama as movies “without the images” or “movies of the mind” but it really is a different medium. If anything, after the last decade of listening to audio drama, I find more in common with stage theatre and audio drama than I do with moving pictures.

1. Limited Stage

While movies can have three or more plots happening concurrently, that’s much more difficult to achieve in audio drama. Certainly, your imagination is unleashed in the audio play, but the story still must remain carefully focused in one “set” at a time. Move too much around on a stage too quickly, and you lose the momentum of the play. The same goes with audio drama. A story has to have a clear setting and audioscape or you risk losing your listeners.

2. Limited Cast

Background crowds and wallas are more of an aspect of the atmosphere of an audio drama in the same way as music provides mood. The most challenging audio dramas to listen to have more than six speaking characters. One of the hot button topics is “How many women characters do you have in your play?” when the more pertinent question might be, “How many unique voices/characters are being represented?” I’m not speaking about race or ethnicity which (unless provided as a stereotype) goes virtually unnoticed in an audio show, but rather simply truly unique sounding actors? One of the big difficulties for actors is having variation in vocal tones and notes between people in a scene. Have two women that have similar vocal inflections, accents and pitches, and you will confuse people even more. Movies can have massive casts because the visual cues will certainly help differentiate who is performing.

3. Limited Pacing

Movies can have a ten minute car chase with next to no dialogue. Or a fight scene of the deck of a pirate ship with vast technocolor explosions. Fight scenes and high-paced action sequences always threaten to leave you audience behind without either narration or dialogue that helps clue in the listener as to what is happening. Long chunks of fight scenes without clear direction for the audience becomes tiring to listen to, and can leave people shrugging the shoulders saying, “I guess they won?” Action movies have a whole lot less dialogue for a reason. They fill the story with images. Trying to do exactly the same thing in audio will befuddle more than thrill. Stage fighting has a long history of clearly detailing what is going on for the audience and still maintaining a level of excitement and daring.

When I listen to audio dramas that were made by producers who wish they were making movies, I know. They are either narrative heavy, which throws the audience out of the action, or they are so confusing as to leave the audience turning off hoping they can find a quieter time to better try to decode what exactly was going on.

I suspect that Dirk Maggs’ brilliance in the arena of audio movies, is because of his deep understanding of the limitations of radio drama, and where he can dynamically express the story. As much as he loves movies, I’m certain he recognizes that he’s not making them. When you’re making your audio drama, it might do well to think of the magic of the theatre, and consider how you can use sound effects to expand that story, than to tell a film in mp3.

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