Blakes7

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5511 discussions

Re: [B7L] alternative acting
by Tavia Chalcraft 28 Feb '01

28 Feb '01

Iain: >...but my mind has been more on the 'Pressure Point' scene >which Alison and Rob performed. The more I think about that, >the more interesting it becomes -- I'd like to explore it further. The 'Pressure Point' sofa scene was indeed interesting. The main point I caught there from Iain was that there's a lot in the subtext -- in particular, a depth of feeling and an intimacy -- that isn't there in the text. I thought this had a lot of relevance to the B/A slash debate. I've wondered for a while whether the reason some of us see more between Blake and Avon than is clearly apparent in the text is simply that GT brings out better acting in PD? PD's natural style appears to be rather intense, so if GT amplifies this then I can see how some of us acquire a B/A slash message. Tavia (who apologises for posting so much on a subject about which she knows nothing but who is exceptionally bored)

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Re: Gay Subtexts
by Harriet Monkhouse 28 Feb '01

28 Feb '01

Shane wrote: >Avon's lust for Orac is there for everyone to plainly see. Ooh, definitely! Already written up in several fanfics, as it happens... Jarriet

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Re: Gay Subtexts
by Harriet Monkhouse 28 Feb '01

28 Feb '01

Shane wrote: >Avon's lust for Orac is there for everyone to plainly see. Ooh, definitely! Already written up in several fanfics, as it happens... Jarriet

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Re: [B7L] alternative acting
by Marian de Haan 28 Feb '01

28 Feb '01

Alison Page wrote: >Elsewhere in the acting overview workshop Iain showed other scenes with PD in, and they were all much more successful.< This sounds very interesting. Any chance of persuading Iain to post this to the lyst for the benefit of those who couldn't go to Redemption? Marian

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Re: [B7L] That Cellar Scene
by Tavia Chalcraft 28 Feb '01

28 Feb '01

In response to Harriet B's interesting points regarding the acting of the cellar scene: The scene re-enacted at Redemption was just the death scene, starting only just before Avon shoots Anna, ie after her cover has gone when there's nothing to be gained by pretending. As I recall, Iain made the points that (1) Anna did not sound as if she were dying, she sounds as if she's all the time in the world; (2) both of them speak declaratively to the camera, not to each other, despite the presence of multiple others; (3) the movements as Anna falls and Avon catches her felt unnaturally choreographed, and the position they land up in was again very unnatural. Sorry if I'm misrepresenting or misremembering you, Iain; perhaps you'd care to add? Una and Calle played the scene three times with Iain's direction, and then we saw the original screen version. I personally preferred all three of the Una--Calle renditions, but perhaps you had to be there.... Tavia (up far too early waiting for the printer engineer...)

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Re: that cellar scene
by Alison Page 28 Feb '01

28 Feb '01

>What are people expecting from this sort of encounter? I hope you don't mind me picking this up, but I think this is a very interesting question indeed. Perhaps I'll limit myself to one sentence - the last one that Avon speaks to Anna, after she has died. Excuses for the fact that it won't be word perfect. Her last words to him were 'I let you go' then she dies. Avon says 'Oh, no, you never let me go. You never did.' It's a very unusual line for Avon. Nobody is forcing him to speak out, he has nothing to gain from his words. It's a raw expression of hurt and vulnerability, made spontaneously because his inner pain is so great that he can't help but speak, even though he knows she can't even hear him any more. There's nothing begrudging or cynical about it, and it lacks any sort of posing for effect. The pointlessly, even clumsily, repeated words are a good touch by the writer. So, that would be what I would expect to hear from the actor. I know that's very high-handed of me :-) Like I say, I have a lot of respect for what PD did with Avon: I'd say he was probably the actor most responsible for the success of B7, although ironically there were at least two better actors in the team. That makes his achievement even more impressive, like a famous singer whose voice is a bit dodgy but who has huge stage presence. However I do think this scene was a wasted opportunity. Alison

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Re: [B7L] Sally-speak
by Tavia Chalcraft 28 Feb '01

28 Feb '01

Fiona: >I once asked him if he saw any of the gay subtext in >B7 which many fans say they do. He replied that >he detected no sexual tension *at all* between Blake and Avon. >Now,before you say "but the actors weren't gay, so of course >he didn't," this doesn't always read. This could of course be bad acting. I detected no sexual (or any other) tension between Anna and Avon, but put that down to poor acting or at least uninspired casting. Tavia

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Re: [B7L] The Gospel
by Helen Krummenacker 28 Feb '01

28 Feb '01

> >> -The female characters on B7 are all positive role models > > > Argh. I hope not. Early Jenna and early Cally are good, strong > characters. Soolin is starting to become interesting late in Season > Four. I have never understood Dayna's appeal - can anyone enlighten me? > Well, I like Dayna, but I never considered her a role model, even when I was about the same age. She's got a vitality about her that is often attractive, although her bully-aspects are unpleasent. Like the men in the cast, then, she is a strong combination of good (extremely loyal, lively, self-confident, and expressive) and bad (vengeful, a cruel streak, inclining to act without thinking). As her strengths and weaknesses are often the opposites of her teammates, she adds to the dynamic of the group.

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To apologise or not to apologise
by Sally Manton 28 Feb '01

28 Feb '01

Re Betty's suggestons on why Blake shouldn't be dead ... <I don't want Blake to be dead!> <grin> that's me all right. Liking him as I do (okay, okay, loving him as I do) I simply enjoy stories with Blake far more than without. 'Tis rather harder to have him in the story if he's dead (it has been done, as I recall ...) <A dead Blake may make for a lot of Avon-angst, but a Blake who managed to survive can make for even *more* (with the added extra bonus of Blake-angst!). Not only does the poor bastard have to deal with the fact that he killed Blake (or tried to), but he has to deal with it *in Blake's presence*. > There is also the fact that, for those of us who found the original relationship so fascinating, there are *such* possibilities in the changes that both men have gone through. Avon with his now lethally hard edges, Blake clearly battered and more dangerous than before ... it's got a lot of potential for darkness, but there's still (from the way both act in the tracking gallery) a bond there, even if badly fractured by the shooting ... the possibilities are quite fascinating. One thing that disappoints me about some PGP stories is the way Blake is portrayed as *exactly* the same as he was before (and in some cases taken right back to early first season), instead of the still good but darker and different man on Gauda Prime. And add the sourer, post-Orbit Vila at the side, and you have such a rich playground for people like me. _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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Re: [B7L] Re: in calm discussion (was Deliverance)
by Mac4781＠aol.com 28 Feb '01

28 Feb '01

Shane wrote: > Annie, has it sunk in that both you and Carol have just hurt Fiona's feelings, > from the > sound of it very badly? > > Please, people, let's see some consideration for others before yet another > person unsubscribes from the Lyst in anger. Er... I was taking part in a discussion with Fiona. I assumed that we could have that discussion and disagree without either of us taking it personally. When I saw that Fioana was taking it personally, I stopped participating. It seemed the prudent thing to do. Carol Mc

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