Set during the reign of a Galactic Empire , who’s able to predict the fall of civilization.
“When Asimov was writing , his family, they were Jews, immigrated from Russia before World War II, but they saw that things were getting bad with the rise of Nazism,” Goyer explains to EW.
To get a firmer grasp on this story, which spans a thousand years and premieres on Apple TV+ this Sept.
This is Brother Dusk, a member of the Cleon Genetic Dynasty, the previously mentioned Galactic Empire.
Even though they’re the most powerful guys in the galaxy, each one of them desperately wants to prove that they’re unique, even though there’s been 14 of them before.
That’s how he’s able to solve a complex equation that points to the self-destruction of the Cleon empire, which the empire, clearly, doesn’t appreciate.
“One of the things that I’m excited to explore with character is what it takes to be a person who realizes the world’s going to end in a really bad way, realizes he has to break that news to everyone, and realizes that none of those people can be saved.
In either case, the concept “can talk about things that are happening in our world now, but not in a way that hopefully it seems like you’re preaching,” he says.
“You’re entertaining people first and maybe getting them to think about things after the fact, whether it’s global warming, whether it’s globalization, whether it’s Brexit, whether it’s the polarization of what’s happening in America today,” Goyer continues.
Another aspect of Foundation has to do with a mysterious floating object glimpsed in the last shot of the trailer.
“We’ll definitely find out what’s in the Vault in the season, although there are other mysteries to reveal about the Vault in later seasons.
“It has what we call a null field, which is designed to keep people away,” Goyer mentions.
Foundation’s trailer makes clear the high visual standards Goyer strove to achieve for the series.
It’s the hardest shoot that I’ve ever been involved in, but I really believe as much as possible in doing things for real and having as many real elements as possible.
It was important to me that the actors were really experiencing the wind and the snow and the ocean, and that there’d actually be a bit of a struggle in the making of it.