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5511 discussions

Re: [B7L] who shot who
by Jenny Kaye 11 Apr '01

11 Apr '01

Iain wrote (quoting Neil): > > > > I don't have any confirmed fatalities for Gan at all. > > >Well - I gave him credit from one of the many he bashes in Cygnus Alpha - >but maybe they weren't really dead (although I think that it was clearly >the >intent of the writer/director that we think Gan is quite capable of >menace/killing in this episode). I've been discussing that episode offlist with someone, so it's very fresh in my mind-- and yes, Gan is seen pushing a spear into something/one on the ground with a good deal of effort, and when he lets go it sticks. It looks like a kill to me too. >Well... if its "responsibility" we are looking for then maybe Travis who >caused the alien invasion and a huge galactic wide war probably "killed" >the >most Out of desperation! Just one last thought on Mission to Destiny, by the way-- when the mystery is solved, the crew of the Ortega leave the ship-- only the traitor stays behind. Jenny _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Re: [B7L] Redemption report
by J MacQueen 10 Apr '01

10 Apr '01

>From: Jacqueline Thijsen <jacqueline.lyst(a)jthijsen.demon.nl> >Is anyone on the lyst still interested in reading it? Yes, please. Regards Joanne _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Re: [B7L] Mad Gan
by Jenny Kaye 10 Apr '01

10 Apr '01

Neil wrote: > >From: Fiona Moore <nydersdyner(a)yahoo.co.uk> > > > > > This is going to be my last post to Lysator for a few weeks, I'm afraid. > > > I've got a heavy term ahead of me and I've taken on a few too many > >outside > > > things as well. > > > >Very cunning of you to flee the Lyst before anyone might point out that (a) > >your theories about Gan are all very interesting, but that doesn't mean you > >can go and retcon it back into the series, I don't think she is. She's arguing from evidence in the series itself-- check it for yourself if you don't believe her. She's certainly convinced me, and I *like* Gan. and (b) if Gan really was Ed > >Bundy In Space, then maybe it would have got a mention in the numerous > >interviews with e.g. Terry Nation, Chris Boucher, and David Jackson. Boucher once said "Actors act, writers write." So perhaps David didn't know, but as for the rest, well, the simple answer is: if the idea was never developed into a final script, would anyone other than Nation have known? And he's dead. Jenny _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Another Question
by Caveatemptor1＠aol.com 10 Apr '01

10 Apr '01

I just read Bryn Lantry's story "The Thirteenth Hour" in RITES OF PASSAGE. It's wonderful! She writes such marvelous Avon/Blake...Avon-Blake dialogue. This is now one of my favorite Bryn stories. She has such a unique writing style, I was wondering if her style of writing has a name. Does anyone know??? Thanks again

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Recasting again
by Caveatemptor1＠aol.com 10 Apr '01

10 Apr '01

<< Mistral wrote: << A photograph and complete filmography can be found at: http://us.imdb.com/Name?Rickman,+Alan >> AH! Thank you. I also liked him in Die Hard...I just didn't know who he was. The only other thing I've seen him in is Galaxy Quest. I got the biggest kick out of his character in this one. Thanks again

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Re: [B7L] Recasting again
by J MacQueen 10 Apr '01

10 Apr '01

>From: Mistral <mistral(a)centurytel.net> >(was that subdued enough for you, Joanne?) About the only thing you could have added, in the spirit of subdued reverence, was that he was in the RSC at the same time as Gareth Thomas. (Sometimes something on the shelves of a university library is more interesting than you might otherwise suppose. Pity I didn't photocopy it...) Regards Joanne _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Recasting again
by Caveatemptor1＠aol.com 10 Apr '01

10 Apr '01

<< Drool? Me? No, no, no - we speak of the Alan Rickman in the hushed tones of reverence; no drooling allowed. >> Who is Alan Rickman??? Thanks

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Recasting again
by J MacQueen 10 Apr '01

10 Apr '01

>Who is Alan Rickman??? I left this, Caveatemptor1(a)aol.com's actual question, off the previous post. Let the moral be: don't post after a late lunch until you've actually digested it. I think. Regards Joanne _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Re: [B7L] Recasting again
by J MacQueen 10 Apr '01

10 Apr '01

>From: Caveatemptor1(a)aol.com ><< Drool? Me? No, no, no - we speak of the Alan Rickman in the hushed tones >of reverence; no drooling allowed. >> Well, go on, Mistral, give details in a suitably hushed and reverent manner... Regards Joanne "Brother Deeta, all you stand for Endangered on your way to Vandor See the hatred in her eyes Come through all the friendly lies And even this is no surprise Maybe your faith in Man it dies" --Filk fragment _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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writer and director
by Alison Page 10 Apr '01

10 Apr '01

Interestingly I've been discussing the question of division of responsibility between director and writer with various real-life writers and editors over the past couple of weeks. The input of actors is also important of course, particularly in the B7 world, which changed so much under so many influences, over the four seasons. One interesting issue which has come up is the difference the traditions of UK/Europe and America (sorry, don't know about Australia/nz). It is my feeling that the British tradition emphasises dialogue much more, coming as it does on a strong and high status theatrical tradition. This has changed quite a bit over the past thirty years, with greater emphasis nowadays on telling a story through visual cues as well as dialogue (cf 'Trainspotting') , but obviously B7 comes well before this time. An American script editor I was talking to (by email) yesterday, said to me that he felt the British tradition was as he put it 'proscenium oriented', which has advantages and disadvantages. I think the advantages are that the strong emphasis on dialogue forces strong characterization, and a drive towards wit. On the other hand (as we can see in B7) it may damage the credibility of the action sequences, as insufficient thought is given to developing them. I thought you might be interested in this comment that he made, too, which I think illuminates an interesting aspect of the B7 style. >>>I don't think one should leave the choreography or staging or blocking entirely up to the director. Most directors will appreciate a solidly blocked, staged and choreographed action sequence. Done well, this saves them a ton of work. They don't want you doing their work, but they do want you to do yours, and this includes writing a filmable scene in which actions and behaviors are clearly articulated. A director may choose not to use your design, but usually only when they see a better way when on the set, which often happens. If you are describing action, movement and behavior as it unfolds temporally on the screen, you'll have to do some design to ensure that it can indeed be performed and filmed. You'll have to think about that and reflect what you think in your writing. The last thing you want is a scene that's devoid of any consideration of choreography or staging, <<< I think this is a potential defect of the B7 style, the lack of choreographing of action sequences. And perhaps it is because nobody - not writer, director or actor, is taking sufficient responsibility to define it. Here's another comment, from a different email. >>>a play, whether written for exhibition on the bigscreen, television, or the stage, must possess some theatrical qualities. Many scripts I evaluate lack theatrical qualities, which degrades their overall value and effect. In many ways, the frame of the film is like the opening of a proscenium stage. For example, in theater, entrances and exits are important to scene beginnings and endings, and are often used to signal a beginning or an ending. Yet I see scripts all the time that end on the last word of the last speech, with no indication of what happens thereafter. In most cases, this is mistaken; few scenes end on the last word of dialogue, there's almost always something that occurs after the last word has been spoken -- a character reacts with a look, a character exits, two characters embrace, and so on.<<< Whereas here, I think he is talking about a virtue which B7 does have in abundance, a marked theatric quality, with (often) good scene resolution. I'm sorry this is a long post, but I thought this might be of interest to some people Alison ********************************************************************** This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this email in error please notify the system manager. This footnote also confirms that this email message has been swept by MIMEsweeper for the presence of computer viruses. www.mimesweeper.com **********************************************************************

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