{original post had no questions}

Thanks. You pick up on a lot of good stuff. I've suggested the
use of a minor chords version of the theme music to Chris on several
occasions, where it seemed right, here, Signs and Portents, and in
others. The change from minor to major chords does signal an emotional
transition, and it works well.

The director initially didn't want to do the Londo rage scene in
one take; it was something I felt very strongly about, and I think it
works well.

BTW, there's another example of a long single take coming up
soon, on Epsilon 3, which is all I'll specify. I kinda wanted the
scene to play itself out, without cutting, and to show just how
amazingly capable some of our actors can be. We're talking here almost
4 minutes of footage, not one cut in the whole thing, very fast
dialogue, and not a single muffed line, with the performances working
wonderfully. You'll know it when you see it.

jms

Rebecca Eschliman <76072.2345@compuserve.com> asks:
> As if there weren't enough stuff (acting, story, CGI) to
> anticipate...(And it takes place on Epsilon 3?!!

RE: actors and producers...it's a mixed bag. Some producers
prefer to have as little as possible to do with the cast. And
relations can be *very* strained, which leads to a lack of appreciation
of the cast. On B5, the cast and I hang out, we go to dinner, do
conventions together, and I learn more about what they can do. It
creates an atmosphere where you want to reward them and show what they
can do.

jms

Elyse M. Grasso <70302.3304@compuserve.com> asks:
> Are you ever going to tell us how you got revenge for Andreas'
> practical joke?

I'm saving that story for the next big convention....

jms

SysOp Lee Whiteside <76711.2660@compuserve.com> asks:
> Do you want a reminder on Sunday?

Reminder about what?

jms

{original post had no questions}

Yeah, but I think I want to hold that for a big con...my
problem is, once I tell a story ANYwhere, it's on the nets in 50
seconds, and I can't tell it anywhere else without boring my audience
to tears. So I'm looking for ways to spread stuff around.

jms

Tom Knudsen <72347.1626@compuserve.com> asks:
> So......is I-Con considered the next big con??

Megacon in Florida would be the next biggie. I'll be at that
one in Orlando March 15th and 16th.

BTW, here's one of those little things that make you go
"hmmmmm...."

That Starlog has an anti-B5 bias has always been evident, and
has covered us only reluctantly covered us. There is a convention
listing page in the current issue. It mentions the Gallifrey
Convention happening this weekend here in LA, lists the guests...but
omits my name. So you figure, "Okay, it's an oversight."

Then there's a listing for MegaCon in Orlando. Now, understand
that MegaCon *advertises* in Starlog. Three pages earlier, there's a
huge half page ad for MegaCon with my name in huge letters as the
primary guest. But in the convention listing for MegaCon, all the
others are listed *except* me.

One you figure could be an oversight...two, in the very same
magazine that has a huge ad for one of the conventions, starts to look
like a deliberate snub.

Or, more succinctly, "Hmmmm....."

Richard M. Perry <76461.2737@compuserve.com> asks:
> On a related note, have you seen the latest issue of Sci-Fi
> Invasion? Needless to say this caught my eye, so I read the entire
> article so I could get it in the right context, I mean no one
> would be that bold, right?

So by Hans logic, any series of novels, like the Dune books or
anything else, is "limited by the imagination" of the person
responsible, and thus flawed...or Herbert was just full of it...same
for Tolkein, Clarke, Asimov, Smith and others.

I think this is what's called a classic case of projection.

jms