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B5: No Surrender, No Retreat (Babylon 5, 4, Band 4) - Softcover

Killick, Jane

 
9780345424501: B5: No Surrender, No Retreat (Babylon 5, 4, Band 4)
Softcover
ISBN 10: 0345424506 ISBN 13: 9780345424501
Verlag: Del Rey, 1998

Inhaltsangabe

A comprehensive episode-by-episode guide to the fourth thrilling season of Babylon 5!

Filled with stunning revelations and explosive plot twists and turns, Babylon 5: No Surrender, No Retreat sums up the spellbinding fourth season. Culminating in some of the most dramatic events in television history, Captain Sheridan is pronounced missing and presumed dead on Z'ha'dum, while Delenn feverishly rallies support for an all-out offensive against the invading Shadow forces. Internal strife on Centauri erupts in a shocking and violent betrayal. Garibaldi resigns as Security Chief and turns to treachery, plotting against his comrades. And Earth launches a war against Babylon 5.

From “The Hour of the Wolf” through the shattering finale of “The Deconstruction of Falling Stars,” B5 expert Jane Killick's episode-by-episode summaries and analyses capture all the action and intrigue of Babylon 5 circa 2261—"the year everything changed."

Veteran viewers or first-time fans, relive the adventure—or find out what you've been missing—with the complete companion volumes to Babylon 5!

Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.

Von der hinteren Coverseite

Now in its fifth hit season, Babylon 5--TV's hottest interstellar science fiction phenomenon--has spawned its own series of definitive episode guides! Catch up on all the action, show by show, from the very beginning with the Babylon 5: Season by Season guidebooks.
Filled with stunning revelations and explosive plot twists and turns, Babylon 5: No Surrender, No Retreat sums up the spellbinding fourth season. Culminating in some of the most dramatic events in television history, Captain Sheridan is pronounced missing and presumed dead on Z'ha'dum, while Delenn feverishly rallies support for an all-out offensive against the invading Shadow forces. Internal strife on Centauri erupts in a shocking and violent betrayal. Garibaldi resigns as Security Chief and turns to treachery, plotting against his comrades. And Earth launches a war against Babylon 5.
From "The Hour of the Wolf" through the shattering finale of "The Deconstruction of Falling Stars," B5 expert Jane Killick's episode-by-episode summaries and analyses capture all the action and intrigue of Babylon 5 circa 2261--"the year everything changed."
Veteran viewers or first-time fans, relive the adventure--or find out what you've been missing--with the complete companion volumes to Babylon 5!

Aus dem Klappentext

Now in its fifth hit season, Babylon 5--TV's hottest interstellar science fiction phenomenon--has spawned its own series of definitive episode guides! Catch up on all the action, show by show, from the very beginning with the Babylon 5: Season by Season guidebooks.

Filled with stunning revelations and explosive plot twists and turns, Babylon 5: No Surrender, No Retreat sums up the spellbinding fourth season. Culminating in some of the most dramatic events in television history, Captain Sheridan is pronounced missing and presumed dead on Z'ha'dum, while Delenn feverishly rallies support for an all-out offensive against the invading Shadow forces. Internal strife on Centauri erupts in a shocking and violent betrayal. Garibaldi resigns as Security Chief and turns to treachery, plotting against his comrades. And Earth launches a war against Babylon 5.

From "The Hour of the Wolf" through the shattering finale of "The Deconstruction of Falling Stars," B5 expert Jane Killick's episode-by-episode summaries and analyses capture all the action and intrigue of Babylon 5 circa 2261--"the year everything changed."

Veteran viewers or first-time fans, relive the adventure--or find out what you've been missing--with the complete companion volumes to Babylon 5!

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Before an actor can step in front of the camera, there must be a story to
tell. There must be words for him to speak, a costume for him to wear, a
set for him to stand in, and a camera crew to film him. All this takes a
great deal of planning and coordination, from putting the first words of a
script down on paper through designing and making costumes, sets, and
alien makeups and organizing the filming schedule. An episode may last
only forty-four minutes, but it is the result of many hundreds of
man-hours.

But before there are individual episodes, there is an overall plan. This
started in the late 1980s as a five-year story plan that has been added to
and changed as the series has developed. The man who created the story
arc, J. Michael Straczynski, keeps his notes in a "hodgepodge" form, which
he refers back to as soon as he knows there will be a new season to plan
for. From there, he develops a set of notes outlining all twenty-two
stories for the season. These are little more than a few sentences
describing the main thrust of an episode, such as "Sheridan returns from
Z'ha'dum and has to deal with reforming the alliance," and occasionally
the major scenes, such as "Sheridan on the bridge talking to people," from
Season Four's "The Summoning." These may sound rather sketchy, but they
are there only as guides. A more detailed plan is locked away in Joe
Straczynski's head. "This is the Scheherazade complex," he says. "They
have to keep you alive because if all of my notes were written down in
clear and concrete form, I would be almost expendable at this point. Those
aren't meant for anyone else. If you picked it up, all you would get would
be the very, very broad strokes of where things are going to go. You
wouldn't know the details--nor should you, because if it should fall into
anybody's hands, it would be all over the computer nets in twenty-four
hours."

From that, he writes an outline for the producer, John Copeland, to
forewarn him and the heads of the main departments of what is to come.
Also at the beginning of the season, they all sit down for what John
describes as a "postmortem" of the previous year. "When we have these
roundtable discussions, we are harsher on ourselves than any critic has
been in print anywhere," he says. "We can be pretty scathing at times, and
that can be good because I think that kind of honesty really has helped us
to excel from season to season."

Work can then really begin on the individual episodes, but before anything
else can swing into action, there has to be a script. Sometimes, Joe
Straczynski has passed on his story ideas to other writers. This happened
particularly in Seasons One and Two where he would write a short outline,
allowing the writer to build on those ideas and, with a certain amount of
consultation, embellish them into a script. On rare occasions, writers
have come up with their own ideas, as D. C. Fontana did for "Legacies" in
the first season, Laurence G. DiTillio did several times in the first two
years, and Neil Gaiman and Harlan Ellison have done for the fifth year.
Most of the time, however, it is executive producer Joe Straczynski who
writes the scripts.

Sometimes Joe will sit down at the word processor and produce a script
within three days. The current record is one day to write Season Five's "A
View from the Gallery." The result, however, represents much more than a
day's work, as he will have been thinking about it long before his fingers
ever touched the keyboard. "It's like a dog chewing through a bone," he
says. "The writing process is hardly ever clean and precise. I have a
concept or a story in which X has to happen, but the shape of it is
unclear. It's like looking through a glass of the wrong prescription. If
it's not quite there, then, over the next week, few days, months, whatever
time I have, I'll chew through that subconsciously. Every once in a while
I'll be watching a movie or watching television or half asleep in bed, and
all of a sudden the back of my brain will go ka-ching [like a cash
register] and something will pop up. It can be very disconcerting when
Kathryn [his wife] and I are sitting having a conversation, and in the
middle of a sentence, I'll stop, go into fugue state, reach over, grab a
piece of paper, write something down, then go back to the sentence where
I'd left it off. But it means I suddenly have a piece of dialogue worked
out."

These notes are essential reminders to unlock the ideas in his head. Some
writers carry a notebook with them and diligently jot down any ideas they
have in a neat and orderly fashion. Joe is more of a back-of-an-envelope
kind of guy. "Yeah, unfortunately, I'm not terribly well organized in that
respect," he admits. "My office is covered in Post-it notes and scraps of
paper and crap which you look at and think, 'This guy's office is very
messy,' but all those pages contain a fragment of dialogue or a
description of a scene or a character note and I know where they all are,
I know what every one of them means. I may pick it up, and it'll have just
three words on it which are designed to remind me of an entire long
speech, but I only need those three words. The same way that you only need
to have a few words from the speeches of Shakespeare, and you know the
rest of it automatically."

From there, Joe Straczynski will occasionally write an outline that
consists of no more than a page listing the beats of the episode and
placing them within the six-part structure of an American television
episode--the teaser, four acts, and a tag. This is generally the case with
a more complex episode that has several story threads. With the episode
all set out on one page, it is easier to see that, perhaps, some material
has to be taken out of act 3 and put into act 2. This is the usual format
for writing for television, especially when scripts have to be approved by
producers further up the line. The story will be discussed at outline
stage, then a treatment will be written that breaks it down scene by
scene, and once that has been discussed and approved, the script merely
fills in the details.

Joe rarely works that way, even when writing for people on other shows
because he feels it stifles originality. Instead, he moves from outline to
script--if he bothers to outline at all--preferring to keep the writing
process a journey of discovery. "The saying is, 'The writer must surprise
himself if he has any chance of surprising the audience.' And so I go into
each episode with the notion that no outline ever survives contact with
the enemy--which is the writing of the script. In some cases, the less I
have outlined, the better the script has been, because you leave yourself
open to the characters coming in and making suggestions and taking the
show off in different directions (or that part of your brain that becomes
that character for the purposes of that conversation). In many cases, I'll
sit down with no notes. I'll know this is an interim episode and sometimes
even when it is an arc episode, if it's an important episode in the arc, I
will have gone through it in my head so many times leading up to it that
the actual writing of it happens in five minutes. There were several
episodes this past season [Season Four] where I wrote the script in three
days without any notes or outlines because I'd been thinking about it for
four years."

The result...

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Verlag
Del Rey
Erscheinungsdatum
1998
Sprache
Englisch
ISBN 10 
0345424506
ISBN 13 
9780345424501
Einband
Taschenbuch
Anzahl der Seiten
200
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
Nicht verfügbar