Text 5380, 107 rader
Skriven 2006-07-31 11:18:00 av Robert E Starr JR (5877.babylon5)
Ärende: Re: Babylon 5 is alive an
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* * * This message was from Amy Guskin to rec.arts.sf.tv.babylon5.m * * *
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@REPLY: <1153770768.341951.108920@s13g2000cwa.googlegroups.com>
>> On Mon, 31 Jul 2006 03:06:27 -0400, Alison Hopkins wrote
(in article <4j5oflF6g28eU1@individual.net>):

> 
> "Dennis (Icarus)" <ala_dir_diver@yahoo.com> wrote in message 
> news:9dc68$44cd6280$18d64cf6$18814@KNOLOGY.NET...
>> "Alison Hopkins" <fn62@dial.pipex.com> wrote in message
>> news:4j387kF62pplU1@individual.net...
>>> 
>>> "Jan" <janmschroeder@aol.com> wrote in message
>>> news:eagttn01ucd@drn.newsguy.com...
>>>> In article <44cbf329$0$24896$9b4e6d93@newsread4.arcor-online.net>,
>>>> Angelika
>>>> Tobisch says...
>>>>> 
>>>>> Jan schrieb:
>>>>> 
>>>>>> I can think of two situations right off the top of my head where JMS
>> has
>>>>>> given
>>>>>> actors information that they in turn tried to use to their advantage.
>>>>>> Just as a
>>>>>> quick example, JMS has said that he'd let Claudia Christian know how
>> her
>>>>>> role
>>>>>> was going to be expanded for Season 5 and look at the stunt she 
>>>>>> pulled,
>>>>>> thinking
>>>>>> that she wasn't replacable and could use that to her advantage.
>>>>> 
>>>>> Care to enlighten me about the second?
>>>>> 
>>>>> Angelika
>>>>> 
>>>> 
>>>> The first, actually.  Patricia Tallman knew that JMS had basically
>> written
>>>> the
>>>> character of Lyta for her and word was that she (or her agent) tried to
>>>> use that
>>>> to advantage when negotiating for the series.  From what JMS said in 
>>>> one
>>>> of the
>>>> script books, the studio wanted somebody with more acting (as opposed 
>>>> to
>>>> stunt)
>>>> credits anyway and so that negotiation ploy failed.
>>>> 
>>>> And lest anybody think that I have a problem with using any advantage
>>>> perceived
>>>> in negotiations, in general I don't.  That's what negotiating is all
>>>> about.  I
>>>> only used that as an example of why business formality would need to be
>>>> maintained when an Exec. Producer deals with actors.
>>>> 
>>> 
>>> Jan, I don't think either of these supposed examples should be cited
>> unless
>>> there is proof positive or the actor has stated them as fact and given
>>> permission. Such innuendo can be very damaging to an actor's career. And
>>> this, btw, is based on my mother's fifty year career as an rather well
>> known
>>> actress.
>> 
>> The Pat Tallman story is recounted in JMS Script book, vol 1, page 26.
>> 
> 
> I've not got this book. Is the story told by Pat? That's my point - and no, 
> that is NOT a dig at jms in any way. It's simply that in this type instance, 
> I do believe that the actor's statement counts. <<

If people really believed that they needed to have both sides of a story on 
record before hearing something interesting or titillating, all of those 
ghastly entertainment programs would be out of business.  Book publishers 
would have to clear their backlists of all bios.  And, most of the news 
(television and print) would go away, too (to say nothing of blogs).

Nearly all information we get on a daily basis is the opinion or point of 
view of one party.  What we do, as human beings, is make determinations all 
the time as to what we'll listen to, and who we'll believe.  I have a friend 
who's been a broadcaster for many years, so when she tells me something about 
a radio personality she knows, I believe her.  But when another friend sends 
me a forward telling me that there's a little boy in England who is 
terminally ill and collecting greeting cards from all over the world...well, 
I virtually slap her hand and send her over to snopes.com.

So unless one has a good reason to think that the storyteller isn't a 
credible source, there's absolutely nothing wrong with the producer telling 
his side of the story about a meeting or conversation with an actor that took 
place in the course of business, unless specific non-disclosure statements 
were signed for that particular deal.  If an actor says something potentially 
regrettable in a business context, they're their own worst enemy, because 
people in the business talk to one another - certainly people who matter 
(people who could hire her) likely knew about this long before the existence 
of the script books.  People reading the script books aren't likely to be the 
people hiring her.

Amy
                                                     
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