JMS: Editing/directing/writing

[B5JMS Poster]

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
From: Blair Leatherwood <bleatherwood at ibm.net>
Date: 11 Jun 1998 20:08:43 -0600
Lines: 16

After watching "And All My Dreams...", I'm curious as to where the
primary impulse for the visual style of an episode comes from.

I recognize that you script a good deal of it in terms of what scene
goes where and how we get from one scene to another, but I also know
that the director and the editor have input as well.

Since the visual style of this episode is so different (and knowing that
Goran is European and how that influences theatrical and film style), I
would like to know how much of what we saw was due to his input.  Did
you write it specifically to be presented in this manner or was this
what he and the editor came up with?

Congratulations all around on this episode, by the way.  If you see
Goran, tell him the guy in the kilt on the cruise and his wife say,
"Wonderful job!"

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
From: jmsatb5 at aol.com (Jms at B5)
Date: 12 Jun 1998 01:15:27 -0600
Lines: 92

>I
>would like to know how much of what we saw was due to his input.  Did
>you write it specifically to be presented in this manner or was this
>what he and the editor came up with?

It's shot for shot what was in the script, but at the same time, a director
must take that shot and make it live.  Goran did that admirably.  He kept the
camera moving, framed his shots very nicely, got into the emotion of the scene,
and worked very well with the editor; we only did a light dusting in the
editing room.

Since a number of folks have asked, here is the opening scene as written.  (I
only have the first draft in my home computer, modifications were done in the
office, which involved trimming some of this for time.)

****************
  
FADE IN:

EXT. BABYLON 5: A new shot, closer, emphasizing the darkness of the station in
eclipse.

INT. DELENN'S QUARTERS - BEDROOM

Sheridan is in bed, alone as we will discover in a moment.  He rolls over,
stirring, and we SHOOT PAST HIM to the doors, where we SEE a single flickering
light through the translucent glass.  He sits up.

INT. DELENN'S QUARTERS - FRONT ROOM

REVERSING past Delenn to the bedroom doors.  She is seated on the floor, a
single candle burning before her, the flame halfway down it, praying or
meditating as the doors open and Sheridan stands in the opening.  His voice is
quiet.

			SHERIDAN		Delenn...?  Are you all right?

She nods, distantly, not taking her eyes off the candle.

			SHERIDAN		You should sleep.  It'll be morning 
	soon.  You'll need all your strength 
	for what's ahead.

She nods again, but doesn't move.  He gives it a BEAT, knowing 
she is in a place where he can never reach her, then goes back 
into the bedroom, leaving the door open.  We PUSH IN SLOWLY on Delenn's face

TIME-CUT - HER QUARTERS - LATER - ON THE CANDLE

The fragile, guttering flame has now burned three-fourths of 
the way down.  As we slowly PAN UP to Delenn's face, not having  moved in all
this time, we become aware of the SOUND of the shower running.  She doesn't
note it, until it stops.  Then 
there's a BEAT and she looks up toward

ANGLE - THE BEDROOM

Still mainly dark, suggesting pre-dawn, mainly just the light 
spilling from the bathroom entrance as Sheridan comes out in a 
robe, toweling his hair.  His manner here is sober, almost 
somber.  He's trying to keep this normal, but knows that this 
is going to be a difficult and momentous day.  The more we can 
set that tone here, the better.

			SHERIDAN		It's...all yours.

She nods, distantly.  WIDEN as he goes to the bed and sits.  He 
pulls on one slipper, puts his foot down, and picks up the other 
slipper...and just sort of stops.  He doesn't want to put it on.  
He doesn't want this day to come.  He doesn't want to do what he 
knows he's going to have to do.  The slipper just dangles from 
his fingers, the strings cut. Delenn gets up, approaches and sits next to him,
both with that faraway, haunted look.  She touches his back, and leans against 
his shoulder for a moment, both taking comfort and strength in the momentary
contact.  Then she gets up and moves into the bathroom, the robe sliding off
her shoulders as she steps OS.
  
A BEAT, and Sheridan finds the wherewithal to put on the other 
slipper...and sits there momentarily as we HEAR the VO SOUND of a GAVEL
POUNDING, and the VO SOUND of the council, along with:
			SHERIDAN (VO)		There comes a moment, in all of our 
	lives, when we have to do something 
	we'd rather not do.  When we know 
	something we'd rather not know.  This 
	is one such moment.

He stands and moves OS.
 jms

(jmsatb5 at aol.com)
B5 Official Fan Club at:
http://www.thestation.com
-***
-*** B5JMS SUBSCRIBERS: Replies to messages go to the list maintainer,
-*** <b5jms-owner at cs.columbia.edu>.  If you want to reply elsewhere, adjust
-*** the "To" field.  See http://www.cs.columbia.edu/~ezk/b5jms/ for all
-*** other information about this list.