(blocked) asks:
> 1) How long has Lennier known Sinclair was Valen?
> Why else would the Minbari reject everyone for commander of B5
> until they got to Sinclair? Did Ivanova make the connection, too?
> What about the other Minbari on the bridge -- was this a
> revelation for them as well? Now that they know who Valen really
> was, how will they react to Minbari who revere him as a religious
> figure? Will they tell Garibaldi?
> Will he freak out?
> 4) Didn't ya just love the stuff between Sinclair and
> Delenn????!!!!??? is she Sheridan's and Delenn's daughter?
> Why, oh why did I mail all my first season tapes to Oklahoma two
> weeks ago? 7) So now can we say, "In Sinclair's Name?"
> instead of "In Valen's Name," as an oath?
> 8) So, do ya think one of those Vorlons was Kosh?
> And, ohmygosh, is Kosh *actually* Valeria?
> Did they appear to him, or did he call them somehow?) And does
> Sincalir know that Kosh was killed? SO where do we go from here?

To your question, yes, the scenes with Zathras pinned under the
strut were the same scenes from B2, we didn't reshoot that material.

The hardest shot was matching the lighting and composition in
the central corridor *exactly* for the Ivanova-on-the-link scene, and
the walk by seconds later by Garibaldi and Sinclair. That came out
pretty seamless.

jms

Brian P. Delaney <103640.3511@compuserve.com> asks:
> If 1 in 10000?
> telepaths could move a penny and she was "upgraded" so far that
> she could EMBED one into a wall I think you had big plans for her
> that didn't work out??

The Talia situation likely could've been finessed more smoothly
than it was, no mistake. Sometimes there are going to be ragged spots.
It's going to happen.

Here's the best comparison to what my position is with this
show: Harlan Ellison has, on occasion, done this routine where he'll go
into a bookstore and write a story in full view of everyone. As each
page is finished, it's taped to the wall unti it's done. This is
considered a pretty nifty trick, sustained over maybe 15-20 pages.

That's pretty much what I'm doing here. It's an ongoing story.
I can't go back, I can only go forward. As each page (episode) is
finished, it's put up on the wall, and I have to go on to the next one.
So far I've written 2,400 pages on that wall. Again, I can't go back
and change anything, and if there's a bump caused by a real world
incident, it simply has to be accommodated as best I can while still
going where I have to go.

From time to time, there's going to be a misstroke on the
keyboard, or there's going to be a typo that I'll miss. That's
inevitable when you're out performing in front of a massive crowd on
the high wire without a net. As long as the totality of it all hangs
together, as long as the story is told, the trick finally done...then
that's what fundamentally matters.

That this happens on occasion should be obvious; that it happens
as rarely as it does is the point of wonderment, I think. Remember,
it's all trial and error, because no one's ever done this before. And
right about now I understand why. But we're making it work.

jms

(blocked) asks:
> You mean you're actually human?

Unless you've heard something....

jms

Brian P. Delaney <103640.3511@compuserve.com> asks:
> master plan?
> or just a pleasant episodic dalliance?

Good heavens, no, I wasn't offended...I guess what was coming
out was the "tone" I really tend to hold in my own internal dialogues
when I go over the good parts and the flaws. You must understand that
I'm *far* more critical of this show than anyone else could EVER be.
So no, good grief, there was no offense taken at all.

jms