It's a very careful and deliberate dance. The reality is that many of our
directors add a lot to the show in terms of visual style, pacing, and in
working with the actors to bring out the story.

The way it works...the director gets the script. The director and I talk
about the script (several times). The director then also has his own
meetings with the various departments, telling them what he'd like to have
as visual elements (sets and lighting elements and practical on-set
effects like squibs, sparks, exploding walls, that sort of thing). He
walks the sets, diagrams out the angles, works out the shooting schedule
with the first AD.

In most cases, the script is written in master shots, i.e,

INT. MEDLAB

Franklin looks at Delenn's lifeless body. Sheridan enters, exchanges a
serious look with the doctor. Garibaldi enters carrying popcorn.

And there the director can frame the shot however he chooses. In some
cases, if I want something in particular, I call out the shots. As in....

INT. ZOCALO

Morden waits at a table as, in BG, an as-yet unidentified NARN approaches.
Morden doesn't even look up as he approaches and pulls something out of
his pocket.

ANGLE - A KITTY

freshly skewered and ready for broiling. It's little kitty eyes loll up
at us.

MORDEN

smiles and pockets the kitty. Nods, as we

WIDEN

and the Narn continues on his way, and we PAN OVER to a sign on the wall:
"Kitties Cannot Hide," as we DISSOLVE TO:

In those cases, the director shoots those specific shots.

It's once a director hits the stage floor that the main difference and
quality comes through. A good director enhances a script, brings out
nuances in performance, helps elucidate the story, keeps the camera
moving...the ones I tend to favor are the directors that transmute one
shot into another...going from a three-shot to a two-shot to a closeup and
a reverse all in *the same camera move*. Ah luvs that kinda stuff.



jms