Attn Jms : Crusade Production Questions

[B5JMS Poster]

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From: sgwm at maitreya.demon.co.uk (sgwm)
Date: 26 May 1998 16:19:45 -0600
Lines: 48

On 26 May 1998 10:11:58 -0600, in rec.arts.sf.tv.babylon5.moderated
jmsatb5 at aol.com (Jms at B5)wrote:

>I've stood on, and we've shot in, the set for the Excalibur, and I think it may
>be the coolest starship *I've* ever seen on film for TV, frankly.  

This is my point, how did you and the production designers work on
this. Did you give them an outline of a few points and discuss the
feel \ look or did you give them a broad brush to be creative and come
up with something seriously cool?

>>Also, how do things proceed from an outline\idea to fleshing out a
>>fully fledged production? How do the producer and production designer
>>pull everything together? How will the use of more virtual sets
>>influence what you guys are doing now?
>
>It goes from the scripts.  For instance, the first script written will be the
>third one produced, to allow more time for production design on some of the
>elaborate set and other requirements.  And yes, we'll be doing more with
>virtual sets.

What about costume design and alien design. Again is this a case of
you setting a rough overall position on what you want or is it more
hands on?

>>Will you be using a script editor in Crusade, similar to the way Larry
>>De Tillio was used in seasons 1 and 2 of B5 before you started writing
>>all the episodes yourself?
>
>Even when Larry was on B5, I ended up rewriting the script to one degree or
>another, not to correct anything Larry did, 'cause he's one of the best, only
>to bring it into line with my view of B5, which is eccentric and subjective at
>best.  

It's a brave man who attempts to steer someone else's vision. Though I
still feel stongly that a script editor has a lot to bring to the
table. Some of the stuff from season 2 is still the best you've done
IMO. Coming of Shadows, Comes the Inquisitor, Long Twilight Struggle.
They were passionate, eloquent and above all, moving. 

>So at this point, there's no need to bring on a story editor, though
>I'll be keeping my eye out for possibilities to serve in that capacity on later
>seasons, once I find out who can write for this show and who can't.

Do you feel that the problem with finding a script editor is in
finding someone who understands the story and characters the way you
do or is it a case of findind someone who is suitably accomplished and
can do the best job?

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From: jmsatb5 at aol.com (Jms at B5)
Date: 28 May 1998 00:21:29 -0600
Lines: 30

>This is my point, how did you and the production designers work on
>this. Did you give them an outline of a few points and discuss the
>feel \ look or did you give them a broad brush to be creative and come
>up with something seriously cool?

It's hard to define...it's a long process of give and take.  John Copeland and
I both knew we wanted something different, a new kind of look, and we went back
and forth discussing it between us until we were ready to talk to the
production design folk.  We told them in general terms what we were looking
for...then they went away, and came back with several preliminary designs.  We
sat and talked about them, made revisions and suggestions, threw one thing out,
kept the other thing, got another version done, and on and on until there was
something that we felt worked.  Ditto for the CGI version (for which there is a
very early version on the B5 fan club site).  The final look of the CGI is much
sleeker and more refined.

>What about costume design and alien design. Again is this a case of
>you setting a rough overall position on what you want or is it more
>hands on?

Same process.  I discuss with Optic Nerve and the costume folks what I have in
mind.  They go away and come up with drawings.  They submit those drawings;
John and I go over them, pick the ones we like, suggest modifications, toss out
what we don't like, and the process of refinement continues.

 jms

(jmsatb5 at aol.com)
B5 Official Fan Club at:
http://www.thestation.com
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