Interview with Michael McCuistion and Dr. Laura Danly

This is Matt Verbois from La La Land Records,

and you've entered the La La Land Lounge on Geekcast

Radio. This is Michael McQuistion, and you are

listening to the Geekcast Radio Network. Hello,

and welcome to a special interview here on Geekcast

Radio under our La La Land Lounge banner here

on Geekcast Radio. I am your host, Mike TFG1

Blanchard. And today, folks, I wasn't sure how

to do this because it happened four years ago.

The soundtrack score finally came out from La

La Land Records. I believe it was last year.

It is Time's Up. It is the music from the Griffith

Observatory's Samuel Ocean Planetarium. This

was a show done in 2012 out there at the Griffith.

Observatory in Los Angeles and the music was

done by Michael McQuistion and I got so excited

about the title and the fact that Michael's name

was on it and I looked at the cover and I was

awesome and it was awesome and I didn't really

see the fine print at the top because I'm like

oh okay so I can just go online find this and

because my thing is I have to be able to watch

something like a movie or a tv show or a cartoon

I have to be able to hear the music in context

and I've been sitting on this and I'm like, how

am I ever going to do this? So I figured, folks,

for the La La Land lounge here in Geekcast Radio,

the best thing to do was to bring Mr. Michael

McQuistion on. Hello, sir. Hello, everyone. We

also have with us, for the first time ever in

Geekcast Radio's seven -year history, we have

a doctor with us. We have Dr. Laura Danley. Hello.

Hello, Mike. And you are the curator, is that

correct? That's correct. Griffith Observatory.

Okay, I just want to make sure I had that right.

I did read up on you and all that stuff, and

I did read the liner notes that come with the

soundtrack CD, but I just wanted to make sure

I had that right. So in the liner notes, if you

guys get this soundtrack from La La Land Records,

you can read all about the story about how Time's

Up came about. But what I want to do now is I

want both of you to tell my listeners. What was

the inception? How did this start? I believe,

Dr. Danley, we should probably start with you,

since it was an original planetarium thing at

the observatory before... Michael came on, correct?

That's correct. We regularly do planetarium shows,

new shows, just to keep the lineup trying to

vary. And by regularly, we mean once every couple

of years. It's not like the old days when you

had a new show every month. Because these days,

if you haven't been to a planetarium for a long

time, these days it's quite a different experience.

It's not just the Star Ball and the stars. Most

public planetaria and university planetaria have...

dome video. So you're making a short film, short

subject film in the world of about 30 to 35 minutes,

4K by 4K. So it's a pretty significant animation

undertaking. So in 2012, because of all of those

rumors that the universe was going to end on

December 21st, 2012, we decided to take on that

rumor mill and that whole idea from pseudoscience.

because there's one every couple of years. The

universe is always going to end. So we took that

subject on and wrote the planetarium show Times

Up about the end of the world and how it's actually

not the end of the world in 2012. So, of course,

we needed a score, and that's where Michael comes

in. Now, how... How did they approach you, Michael?

Was this something that you were interested in

doing as soon as you heard about it, or did you

know about it beforehand? How did that all come

about? Well, I can say that I was absolutely,

definitely interested in it as soon as I heard

about it. I mean, what a great opportunity. The

interesting thing is, is that I've known Dr.

Daly for a long time, for several years now.

And we've been talking about other productions

that she'd been involved with before and music

for those productions. Just little questions

about, oh, how do I do this? And what should

I ask my composer? You know, that kind of thing

when we weren't working together. And then when

this one came around, we talked again. we finally

got to the point to where, you know, Dr. Danley

asked me, well, are you interested in doing the

music for this? And I was sort of, it was funny

because I, you know, I didn't want to. be too

effusive but i've been interested in it since

i since i heard about it and so i finally just

was like yes yes i'm very interested in doing

the music and i have to chime in and say that

was like are you kidding me i never thought in

a million years we could get michael to do our

uh score because he's so busy and he's got all

these other things and commitments so it was

it was the same kind of moment over here Well,

it was kismet because there happened to be a

break in my schedule at that period of time that

was about two, two and a half months, which was

exactly the right time for us to do this collaboration.

I was absolutely thrilled that I could put my

full attention to it. So basically what you're

saying is the whole universe came in alignment

for you guys. That's exactly right. Perfect,

yes. So tell me. Since I was unable, and I didn't

know about it at the time, to see the actual

show, tell me about the experience of seeing

the show with the music and all that stuff. What

was that like at the observatory? Oh, go ahead,

Michael. Well, the only thing I want to say to

that question, just to speak to that in a little

bit, would be that the only way to see it is

at the planetarium. Right. And as a composer,

I'm so not used to that. You know, I'm used to

having something that I can work with. Somebody

sends me the picture. I have the picture to work

with. It's kind of like what you were talking

about, about being able to see it. And you're

just used to that. So this is the first time

when I really couldn't really see it as it was

really going to be. And so I was kind of flabbergasted,

too. And maybe, Dr. Dantley, you can tell us

about how you set that up for us to be able to

work together. Well, you know, the planetarium

environment is an immersive environment. You're

in it and you're flying around through space

and visiting other planets and so forth. So there

really is no way to put the entire thing on a

screen. There is a format called Dome Master

that's circular that then is, you know. projected

onto a hemispheric dome. But a little dome master

thing, you know, just like when you get a map

of the globe that's round and try to put it on

a flat piece of paper, Greenland is too big and

Ecuador is too small. I mean, it's all wildly

distorted. So it's more or less impossible to

actually get the experience. So I guess in terms

of how we did it, he came to the planetarium,

saw our previous shows, we had done. And then,

uh, you know, we had roughly in this part, I

think Michael will probably end up talking about,

we had roughly ideas about how long each cue

should be. The show is pretty much continuous

with music. Um, so there it's the cues blend

into one another, but of course there are different

scenes. And the reason I say roughly is because,

um, and a planetarium show is not like a movie

and well, in many, many ways, but one of them

is that our performances are live. And so they're

more like theatrical experiences, but to a set

visual track. So when I'm, and I was the director

on the show, as well as the producer, when I'm

making a show like that, it's not always that

the, you know, in contrast to the way movies

are it's not that the shots are done and now

he has to score it the music is integrated up

front we want this flight through the galaxy

to feel like this here are some dailies so he

can see what it looks like But, you know, sometimes

the music, we'd let the music drive it. OK, we

want that cue to be one minute and 52 seconds.

And so we'll stretch the video from one minute

and 48 seconds to one minute and 52 seconds just

to give us that moment to let the music resolve.

You know, in other words, the music is right

up there with the script and the visuals and

the performance in equal partnership to create

this combined experience. It's really remarkable.

I think it's one of the closest collaborations

I've ever had as a film composer because of that.

And what was sort of the daunting task for me

in thinking about normal film composing and how

that normally happens, I found it very daunting

because I had the visuals that were set, but

then we also had the Zeiss projector doing the

star field, and that was not running in exact

sync with the visuals. And so... it would do

its projections and everything but it was on

a different time clock and then you have the

actors that are doing the narration and telling

the story but their performances are different

each time and there's many many different actors

that do the show and so they all perform it very

differently so there were it was like there was

all these balls in the air there were all these

variables every time and so the music had to

have a certain kind of of softness and forgivability

in terms of how it matched with everything to

allow everything to sort of come together no

matter what the scenario was. The way Dr. Danley

describes it is it reminds me of either it's

a voice cast ensemble recording or, you know,

Kevin Conroy sitting in a booth alone talking

to himself. Yeah, it sounds like it was a very

obviously it was a very large undertaking. But

with the music, it sounds like it was something

that could have been very daunting for you at

the time, Michael. Oh, yeah. Yeah. It was just

very different. I just never done anything like

it before. And that made it very exciting for

me and challenging. And I have to say, I mean,

when somebody comes to you and says. You know,

we really need a little more time for the music

to finish its phrase there. We're going to give

you another four seconds for that. I mean...

that that's happened maybe twice in my career

you know so far and i i don't expect it to ever

happen again with digital you know video being

what it is now so i was i was like thrilled and

that happened many times with us yeah it was

a it was as you can already tell from our enthusiasm

about each other it was a just a heavenly collaboration

um it you know um A planetarium show is an emotional

experience and that is actually its primary function.

I think maybe sometimes people think it's like

a lecture or you're going to go learn something.

Our goal is not, you know, if you come away learning

a thing or two, that's marvelous. But our goal

is to give you an emotionally, you know, impactful

experience that make you feel what it. is what

it means to be part of this glorious, beautiful

universe. And, of course, that's where music

comes in so fundamentally, is its ability to

carry and manipulate, if you want to go there,

emotions. There was a scene, for example, when

the universe ends, for real, down in the future,

many billions and billions of years into the

future, not because of some... hokey prophecy,

but just because of the expansion of the universe

and the eventual death of all the stars in it.

And, you know, that was a sad moment. Yes. So

scary. So I assume that is pretty much where

track 15, the universe dies, comes in. You don't

want to be subtle about it. Well, I mean, you

know, we all, Everything in the universe has

its time, and when time's up, time's up. That's

right. There was another moment when we fly into

a black hole, and in a black hole, time comes

to a stop. And so we fly in, fly in, the pace

of the music slows down and to a halt. You know,

that sort of thing. So we used it to its fullest,

and it was just a blast. Working with Michael

was so fun. He got it instantaneously. He hit

the nail right on the head for the emotion and

the feeling for each scene. He brought so much

dimension to it. And you asked earlier about

what the... experience for him might be going

into the dome and seeing it in the dome. I can

only tell you that for our production team, the

first time we heard his cues, it was overwhelming

for us. And it was, it was, he just did a beautiful

job. Yeah. I mean, I, you know, like I said,

I've had this, this release for, I believe it's,

I believe it got released last year, right, Michael?

It wasn't this year. Yeah. It was the end of

close to the middle of end of last year. And

as soon as I got it, The first thing I did, I

thought of emailing you, Michael. And I'm like,

no, no, I don't want to do that. So I emailed

John Takis, who did the liner notes for it. And

I'm like, and like I said before, this person

I asked, John, how am I supposed to review, right?

Because originally it was going to be a written

review. How am I supposed to write up a review

of something I can't experience? And he said,

just, you know. Turn the thing on your headphones,

turn it on full volume, sit back, read the liner

at one point, if you're done reading the liner

one, turn it all the way up on your headphones,

close your eyes, sit back, and just imagine it.

And I did that, and it was just amazing. The

music just brought it to life. It was almost

like I was there, even though obviously I couldn't

see it. That is so cool. That is a great actually

tip for people that want to really experience

the score because the liner notes are extensive

and wonderful, and that's just great. I love

that you did that. Yeah. Well, I'm one of these

people, and I think I told you this last time

when I talked to you and Lolita and Christopher.

I first have to, as I said a minute ago, I first

have to hear the music in its context. world's

finest one of the greatest dc animated universe

three -part episodes ever with some of the best

music ever uh you know of course you know i watch

that and i hear the music as it's going through

and then i can In order to write about just the

music and bring it into context for people, when

I originally wrote up my Superman the Animated

Series disc release thing, again, I sat here

and I just closed my eyes and I just listened

to it. And I just let all the notes and all the

cues just flow in and out of my ears. And I immersed

myself in listening to the music so I can...

pretty much memorize almost every note to the

point where i can sit here and if i'm writing

something up i can sit here and say okay this

part of the episode has this type of music in

it and it's you know a slow steady decline or

it's a funny moment where you know heart and

i know i'm i'm talking about world's finest here

i know we're supposed to be talking about time's

up but i'm just trying to explain this you know

the scene where Harley's driving and Joker pulls

up. Ooh, you know, check out the cute hitchhiker

and just the notes for the Joker and the themes

that you put into that. And it's like, I immersed

myself into that. And this is the same thing

I did with this. Because again, I was like, how

am I supposed to envision this? How am I supposed

to, cause I wasn't able to, I didn't even know

about the thing until the score even came out.

Well, I think if you experienced it that way

and you, you had that kind of a strong connection,

then we've done our job. Laura, we've done what

we set out to do, which is awesome. Absolutely.

And the cool thing about the Time's Up score,

folks, is it is technically about the end of

the world, but it also, to me, is more about

what's out there in the universe. That's just

my personal take on it. It has a lot of themes

that, you know, feel like either planets coming

into alignment or planets suddenly colliding

and destroying each other at times. You know,

like you guys mentioned earlier about the black

hole track. Well, our first scene, and with apologies

to our friends in Santa Monica, we destroy Santa

Monica. That's okay. We actually went out to

the beach, did full, you know, 360 photography

and then brought it into Photoshop. Anyway, created

the scene and then dropped all kinds of asteroids

and earthquakes and tidal waves and completely

demolished, you know, in a grand style, you know,

horror, one of those movies with destruction,

you know, disaster. And then said, wait a second,

that's not going to happen. So, you know, we

wound the clock back, but it was how we began.

And so it was a very fun way to begin. the show

and Michael's track to it was big and disastrous

and wonderful but of course it is true that in

order to explain what all this is about we have

to talk about what is time which is such a heady

concept it was maybe our densest planetarium

show from the standpoint that we just took on

a really difficult topic and so again the music

was there when you needed it and behind you when

you needed to be sort of thinking about other

things or trying to understand, think about the

implications of what time is and how it moves

and how change takes place. So yeah, there was

a lot of physics in it, but you wouldn't really

necessarily know it because you were carried

along so easily by the score. Oh no, I just was

thinking to myself as you guys were talking about,

this is the first time I think I've ever written

a theme for a law of nature. Is that what that

is technically? Yeah, the second law of thermodynamics.

The love theme for the second law of thermodynamics.

It's that, it's totally that. And because it's

dealing with time and all of that, you know,

on here you have tracks like, Cycles of the Night

Sky, you have Seasons in the Sun, you have Linear

Time. What's the other one? Our Place in Time.

And all of these tracks, listeners, just come

together so well. Not only does the score obviously

tell the story of the Planetarium show, but as

I was saying earlier, if you're someone like

me who can just... immerse themselves in the

music like like i said i kind of felt like i

was seeing the show even though you know i i

can envision it based on your music michael and

i think that's really really great i i did wish

before i did start listening to it that you know

I know it wouldn't do it justice, but I kind

of wish there was some sort of film footage out

there. I do want to say, I think, because we

haven't actually explicitly said it, the show

is no longer playing. After we survived the end

of 2012, we played it for about another year

and said everything in the past tense. You know,

hey, look, we're still here. What a surprise.

But then it just became too dated. So it is no

longer playing. But there are two places that

you can. hear Michael's music one is that we

have an exhibit that was to honor the 25th anniversary

of the Hubble telescope and we had a montage

of many spectacular Hubble images and we chose

music of Michael's to lie behind that on that

exhibit so he still lives here and then we also

play his music whenever we have like a solar

eclipse or a lunar eclipse or some celestial

event on our live stream we play is music so

that people can still hear it. Very cool. And

obviously, because I kind of have to do this,

this is the La La Land Lounge after all. You

can go to lalalandrecords .com where soundtracks

live and pick up the score yourself. There's

that too. Now that the score is actually out

there. Absolutely. So Dr. Danley, you are an

astronomer. There we go. I finally got that word

proper. made you want to become an astronomer?

When you were a kid, was there something about

the night sky that really enthralled you or something

like that? You know, at the risk of sounding

a little flaky, I think I was born to it. I just

was fascinated by it from my earliest memories,

some of my earliest memories of dreams when I

was a child. And I hate to say this, but in the

crib, I remember being in the crib, and I remember

having a dream flying around the solar system.

And I just had to know about it, had to go. And

this was the early days of breaking into the

space. frontier. And so I was absolutely part

of that generation that just thought space was

the coolest thing ever. So there was no question

for me. I did have a little side bout with botany.

And another actually lifelong affair with music.

But in fact, astronomy won out as what I wanted

to do for my career. So yeah, it was just always

there. And I slogged through the work and the

math and got the degree. And so yeah, it's certainly

a passion. What, since you are an astronomer,

what are your thoughts on the whole Pluto thing?

Well, you know, a dwarf tree is still a tree

and a dwarf planet is still a planet. So I will

refer now and again to Pluto as a planet. I think

it's kind of a non -issue. The fact is that Pluto

is nothing like the other eight planets in our

solar system and a lot like... thousands, tens

of thousands, hundreds of thousands, maybe even

millions of other bodies out in the outer solar

system. So if you had to say which of these things

is not like the other, Pluto was definitely different

from the other planets and a whole lot like this

whole other population of objects out there.

So it just got moved into the proper category,

and that category is referred to as dwarf planet,

but it's still a planet. Michael, what would

be the next... kind of project that you know

i don't know if you guys can even talk about

this but what would be something that would bring

you back to the griffith observatory what would

be something that you would be interested in

scoring again what kind of planetarium show would

you want to really really do well i can tell

you right now that it wouldn't matter what kind

of a show it was the opportunity to work with

dr danley again would be just fantastic so whatever

she's doing and if she wants me to do it i'm

on board so Well, draw up the contract, Mike.

No, we both feel the same way. And indeed, as

I've mentioned, we do have a cycle where we go

into production every couple of years. And so

there isn't much to say about it yet, other than

to say that we are in pre -production and development

of a new show. And if you want to find out more

about how you can support that through donations.

Because, you know, then you can join, become

a member of Friends of the Observatory, which

is our sister 501c3 membership and fundraising

organization. Griffith Observatory, for those

of you who don't know, is owned and operated

by the Department of Recreation and Parks, the

city of Los Angeles. So I'm a city employee,

a civil servant. We don't raise money, but we

have this marvelous sister organization, Friends

of the Observatory. And so they're in the process

of trying to raise some money so we can actually

do a show and then pay Michael. Yay. Yay. So,

Laura, you said that the Time's Up show, you

guys stopped doing that somewhere around 2013.

Was there a show? Between that and whatever you

have in production now? There are three shows

showing at Griffith Observatory right now. One

is Centered in the Universe. It was our original

flagship opening show, big budget, beautifully

done. And then we did a show for our fifth grade

school field trip program called Water is Life.

And that also shows to the public. And then we

did this crazy show. And again, the music interest

and passion came in. But a show based on Wagner's

Ring Cycle, when the L .A. Opera did the Ring

Cycle a couple of years ago. And that is scored

100 % with music from... wagner's ring cycle

which i which i did i had to do the editing and

figure out what q went with what and you know

if you know wagner you know that it darn well

better not be arbitrary every note has meaning

so that was quite a lot of work uh but a lot

of fun um so those are the three that are showing

now and um you know hey if there's going to be

another end of the world hoax coming up sometime

in the future with the same kind of public appeal

that this last one did. We may be able to bring

it back and have it be relevant again. I will

say that the first show that I saw when we were

talking about working together was Light of the

Valkyrie, which is the show that you mentioned

about that was scored with Wagner. And you brought

me into the dome and we saw that show. And I

tell you, by the end of that show, I was in tears,

literally in tears. I was so moved by the way

the presentation had been done and just the visuals

and the way the visuals and Wagner's music went

together. I mean, I'm a Wagner fan anyway, so

that one was an easy one. But the fact that it

all went together in such a wonderful way, it

was a fantastic kind of unusual thing. to be

able to work with a director and producer like

Dr. Danley, who is also fluent in all sorts of

musical language. Now that's never needed for

a film composer. And I certainly, I don't require

that at all, but it added this. interesting dimension

to the way that we would talk about the music

and how it would integrate with everything. And

I knew as soon as I saw that original show that

she had done that this was going to be a special

collaboration because I could just tell by the

way she was thinking about music and how it went

with visuals and how it went with script that

this was going to be something special. All right,

so I'm going to put you both on the spot. Pick

a favorite track from the score for Time's Up.

Laura, you can go first. Can I say a couple?

Sure. My first thought that popped in my head

was when we're watching all the evolution of

the galaxy and supernovae are blowing up, and

he has this magnificent score with lots of bass

every time a supernova blows up, and it was just

breathtaking. But the other that I just adore

is after the universe has ended. We don't end

the show there. There is a coda. And we come

back to Earth, but 500 years into the future.

And we come back to Santa Monica, which is still

in existence 500 years from now and still has

a Ferris wheel, by the way, and drift up along

Wilshire Boulevard and eventually make our way

to Griffith Observatory in a different Los Angeles,

one envisioned 500 years into the future. And

that music, Michael, just chokes me up to this

day when I hear it. It's so poignant, so beautiful,

both hopeful. but not overbearing. You know,

you're probably getting choked up talking about

it. It is an absolutely gorgeous cue. And so

I think I would have to place that as the winner

for me. Would that be It's Up to Us? You know,

I don't expect... The very last track. Yeah,

before the alternate track, that's right. Yeah,

yeah. What about you, Michael? What was your

favorite? As far as listening, obviously you're

the composer, you make the music, but what is

your favorite one or favorite few to listen to

from this? I have a favorite. We've never talked

about this. I know. This is interesting. I have

a favorite cue, and it's because of the story.

My favorite cue is Our Place in Time, number

14. Because that cue is really when... we see

the earth evolve to the point of where human

beings become, you know, a species on the planet.

And there's the way that they did the visuals

with this. I don't hope I'm describing this well

enough so people can understand, but. there's

this scene in the dome where you have a rotating

earth. It's rotating very slowly, but the music

has sort of a phrase structure to it. And they

did the visuals so that at every turn of the

phrase, the earth goes through another era. Is

that the correct term, I guess? Yeah, geological

era. Yeah, geological era. So we start like when

the earth is volcanic and then eventually...

you know, there's like this, it goes through

all these different, you know, like Jurassic

and all these kinds of things. It's not that

identifiable, but you get the idea that the earth

is evolving and you get to watch the earth sort

of evolve. And then there's this point at which

there's, it's some kind of a celestial body that,

that contacts the earth and creates this like

spark. And that's when the narrator talks about

the beginning of life on earth. And I just, thought

that story and the way that it was presented

was just so powerful and my favorite that's my

favorite track because that's the track that

takes us through the idea that the earth was

once you know not around and and then all of

a sudden here life begins on earth and then human

beings become a part of earth and i don't know

there's just something about the humanity of

that that i love Laura, you mentioned earlier

that at the end of the show, the end of the story,

they go back to Santa Monica 500 years in the

future. And you said that they still have a Ferris

wheel. All I can think of is, why didn't that

roll down the street yet? It did. It did. It

rolled down the street when it got destroyed.

Exactly what happened when Santa Monica was destroyed

in the first scene. And I have to tell you, our

show came before Sharknado. So I don't know.

There you go. I got to tell you. Let's see. Let's

take a scale here. On the left -hand side, you

got the Griffith Observatory and Time's Up. On

the right -hand side, you got Sharknado. Yeah,

I think Time's Up wins an award. You know, I

mean, come on now. It came off its hinges and

rolled up the pier and then tipped over on top

of us in the planetarium show. There were also

some flying monkeys right at the end. Yes. Wearing

jeans, I believe. They're little blue bellboy

pants. Yes, there you go. Where's the Wicked

Witch of the West when you really need her? Well,

that was the point. The whole thing is a farce.

Right. Yeah. All right. What, Dr. Danley, can

you tell us is currently, I know you already

told us about the shows currently going on. What

else is at the Griffith Observatory that if people

are out in the Los Angeles area visiting or if

people live out there that have never been, what

do you guys currently have going on? Well, the

main attraction of Griffith Observatory is to

look through a telescope. That's why we were

built, a gift of Griffith, J. Griffith, who wanted

to have a public observatory where everyone could

look through a telescope and have the same kind

of profound experience he had when he looked

through a telescope. So that's our reason to

be, and there are telescopes every clear night

here, and right now in the sky we've got Mars,

Jupiter, and Saturn, so it's a fantastic time

to do some sky gazing. On the first Friday of

every month, and that's tomorrow, we do a monthly

program called all space considered where we

talk about all the headlines, what's been happening

in space, what's going to happen. So, for example,

NASA has a probe arriving at Jupiter on the 4th

of July. We'll have a special guest talking all

about that. I have to warn you, though, if people

are coming, they need to come early. It's a standing

room only show, which makes us very proud, but

it is a great deal of fun. And then, of course,

there are planetarium shows, there are exhibits,

there are guides, staff members to talk to. And

lastly, the view, of course, could not be more

beautiful. And it's a very romantic date night

spot because you have the full view of the L

.A. basin all the way out to Catalina Island

and beyond. So the ocean and the sunset, it really

couldn't be prettier. And Michael, you and your

dynamic partners there have... been killing the

joker this summer we have oh boy yeah you're

listening to the girl that i work with christopher

carter and lolita ritman is yeah yeah absolutely

in a few weeks we have the premiere for the killing

joke coming up that's absolutely true um and

we've been working on quite a few other projects

i wish i could tell you about some of the other

cool things that we have coming up but stay tuned

for november something that might be coming up

in November or December of this year. I can't

say what, but it's a really unusual project.

The fans will really love it. In the meantime,

we've also been doing some concerts live of our

film music. Yeah, didn't you guys just take an

international trip? Well, we did, and we're going

to do another one, too. We just got back from

the Krakow International Film Music Festival

a couple of weeks ago, where we did a concert

of all of only our music with their youth orchestra.

It was about an hour and 20 -minute concert or

so, maybe just over an hour's worth of concert.

where it was all music from Warner Brothers DC

animated shows and all live. And it was just

fantastic. We had a wonderful time and the audience

was so responsive. And the city itself is so

supportive of film music. We had a fantastic

experience there. And we're going to then do

another one of these film music festivals, the

Tenerife Film Music Festival in the Canary Islands

coming up in September, where we will repeat

and expand upon the program that we did in Krakow.

So that's coming up too. Very cool, very cool.

As far as the projects he can't talk about, folks,

I'll get the secret information from him. Because

I do know of a couple of, I know of seven League

members that's coming, so I do know about that.

Okay, maybe you know more than I do. Because

I think that that's common knowledge at this

point, because of Comic -Con coming up. Well,

we are still working on Avengers Assemble. And

so that is our Marvel series that we're doing

that we're really happy about. And that's ongoing.

And we have another series coming up in the fall

that we're doing, which is a completely different

thing than what we normally do, called Wacky

Races. And it's based on the original Hanna -Barbera

Wacky Races show. from years and years ago, which

a lot of people I know overseas remember because

it was broadcast overseas right after school

and here also. So anyway, I'm going to do a reimagining

of that one, and that should be very fun too.

Oh, I can't wait for that because I do know recently,

I believe it's DC. You said that was Warner Brothers,

right? It's Warner Brothers. Yeah, so it's DC.

Well, yeah. Well, I think Warner owns them or

Warner bought them at some point. They do. Anyway.

DC Comics recently released, because they're

bringing the Hanna -Barbera universe to the comics,

and they recently released a comic for Wacky

Races. I have not been able to read it yet, but

so there is that. But yeah, no, I love Wacky

Races. What's that? That's better. I might actually

close this episode with Muttley, just for the

heck of it. Because I love me some Muttley. Oh,

boy. All right. So, like I said, check out Dr.

Laura Danley. Check out the Griffith Observatory.

All the links will be in the episode posts. Where

can the people interact with you all online if

they so choose to do so? Dr. Danley, you can

go first. We welcome anyone who has anything

they want to reach us. My personal handle on

Twitter is AllSpaceConsidered. That's the name

of our show. And you can just on Twitter look

for All Space Considered. The handle itself is

All Space Considered with no vowels in the word.

It's DRD because we just ran out of letters.

Twitter's like that. Yeah. And then, of course,

Griffith Observatory has both a Facebook and

a Twitter feed as well. But for me, for the program,

All Space Considered. So what about you, Michael?

Well, we have our website at dynamicmusicpartners

.com, and we're also on Facebook with an active

page there and a Twitter feed as well, Dynamic

Music Partners. Only I think ours is Dynemuse

Partners or something like that. Yeah, Twitter's

crazy sometimes. So you'll find lots of resources

there, and we try to post news items. We have

some posts about our trips that we were talking

about too and things for people to see so they

can keep in touch. I don't know. I should probably

also mention Michael's music is on our YouTube

channel. That exhibit with the Hubble images

is actually just one cue. It gives you a sense

of all of the other cues on the... About a year

ago for the Hubble 25th anniversary. So if you

go to our YouTube channel, which is just Griffith

Observatory on the YouTube channel, then you'll

find it about a year ago. And I think that's

just music and visuals, right? It is, yeah. That's

really, really cool. Just music and pretty Hubble

pictures. So they can see it a little bit in

the context of space and those images and everything.

That's really cool. Does the Hubble ever not

take pretty pictures? I mean, come on now. It

takes even more beautiful spectra. I'm a spectroscopist,

so in my eyes, a spectrum is, as we used to say,

worth a thousand pictures. That's right. All

right, that's going to do it for this interview

here on Geekcast Radio on the Inside the La La

Land Lounge. Again, head on over to lalalandrecords

.com where soundtracks live to check out the

Time's Up score if you all would like to purchase

that over there. I will have all the links that

Dr. Danley and Michael have talked about. I'll

have all those in the post so you guys can check

all that stuff out. Coming up next Inside the

La La Land Lounge, well... By the time this interview

goes up, it'll probably be after the 4th of July.

So I think we're going to have Christmas in July

here on Inside the La La Land Lounge. And I think

we're going to talk about John Williams and how

he left Kevin McAllister home alone. That's right.

So stay tuned to Geekcast Radio, La La Land Lounge,

all that good stuff. Unleash the geek in you,

and we will catch you next time. Thanks, Mike.

Thanks Mike.