lurkers-guide/ftp/Guide/001.Midnight-on-the-Firing-Line

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   _Contents:_ [9]Overview - [10]Backplot - [11]Questions - [12]Analysis
   - [13]Notes - [14]JMS
   
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Overview

     When the Narn attack a Centauri colony, Londo and G'Kar nearly come
     to blows. Meanwhile, raiders are attacking transport ships near the
     station. [15]Paul Hampton as The Senator. [16]Peter Trencher as
     Carn Mollari.
     
Sub-genre: Action/intrigue
[17]P5 Rating: [18]6.99

Production number: 103
Original air date: January 26, 1994

Written by J. Michael Straczynski
Directed by Richard Compton

  Watch For
  
     * The campaign issues in the presidential election, especially the
       pledges of the winner of the election.
       
     _________________________________________________________________
                                      
Backplot

     * Earth's first contact with an alien race was with the Centauri. At
       the time, the Centauri claimed to be the dominant species in the
       galaxy, a "huge empire" - but (according to Garibaldi) this hasn't
       been true for almost a _hundred_ years. Furthermore, they tried to
       convince the Terrans that they were actually a Centauri lost
       colony, which genetic analysis proved also false.
     * All Centauri foresee the circumstances of their deaths in a dream.
       In Londo's dream, it is 20 years in the future and he and a Narn
       have one another by the throat. When Londo first saw G'Kar, he
       recognized him as the one from his dream.
     * According to G'Kar, the Centauri occupation of his homeworld was a
       "_hundred_ year reign of terror."
     * The Sinclairs have been fighter pilots since the Battle of
       Britain. Jeffrey Sinclair's father taught him everything he knows
       about flying and combat.
     * The Narn sold weapons to Earth during the Earth/Minbari war.
     * The first Mars colony was destroyed by an enemy sneak attack.
     * Ivanova's mother was a long-undiscovered telepath, never able to
       use her powers very well. When the Psi Corps finally caught up to
       her, they put her on very potent psi-retardant drugs. "Every day
       we just watched her drift further and further away from us. The
       light in her eyes went out bit by bit. And when we thought she
       could go no further, she took her own life." (cf. [19]"Eyes" and
       [20]"Legacies".)
     * Londo has enough clout to get a member of his family assigned to
       an agricultural colony rather than admitted to the military.
       
Unanswered Questions

     * There are [21]two references in this episode to a major event in
       the Centauri empire about a hundred years ago. What happened back
       then? (cf: [22]"Signs and Portents", perhaps)
     * How did Kosh get into his encounter suit so quickly? When Sinclair
       visits to ask about his position on the Ragesh 3 situation, Kosh's
       suit is in plain view but un-animated, the "shoulders" at rest
       about two feet below the "head" (which they normally encircle).
       Sinclair can see a large light moving behind a translucent screen;
       Kosh's voice also appears to come from behind the screen. When
       Sinclair turns his back to go, the light flashes across him for a
       moment, and when he spins around the encounter suit is just
       reaching its full height, with Kosh as in it as he ever is.
     * When Londo tells Garibaldi he couldn't possibly understand his
       situation, Garibaldi replies, "I understand better than you'll
       ever know. I know it burns, I know the things it makes you want to
       do." What was he referring to? (cf: [23]"Survivors", perhaps)
     * How did G'Kar know about the Centauri decision to make no response
       to the Ragesh 3 attack?
     * Why did Kosh attend the council session?
     * Is it part of a larger Narn plan to supply the raiders with
       weapons?
     * What _is_ Garibaldi's most favorite thing in the universe?
       
Analysis

     * From the things they say about each others' races at various times
       during this episode, neither Londo nor G'Kar seem likely to strive
       for lasting peace:
       
        _Londo:_
                "We should have wiped out your kind when we had the
                chance!"
                "On the issue of galactic peace I am long past innocence
                and fast approaching apathy. It's all a game, a paper
                fantasy of names and borders. Only one thing matters:
                blood calls out for blood."
                
        _G'Kar:_
                "Your time has come and gone! It's our turn now. One
                night you'll wake up and find our teeth at your throat."
                "I will confess that I look forward to the day when we
                have cleansed the universe of the Centauri and carved
                their bones into flutes for Narn children. 'Tis a dream I
                have."
                
     * Londo was absolutely consumed by anger and hatred. He would have
       sacrificed peace and justice for personal vengeance. (cf: [24]"By
       Any Means Necessary")
     * The Narn attack a distant easy target with little military value.
       This must have been to test the Centauri reaction - see how many
       ships they send in response, how hard they're willing to fight to
       defend any part of their territory. The Narn are forced to
       withdraw for non-military reasons, but they learn a great deal
       about their enemies with that move.
     * Ivanova is surprised to hear Sinclair defend the honor of the
       Minbari. (cf: [25]"The Gathering")
     * The EA is not in a strong enough position at home to take an
       ethical stance toward its neighbors. "The Earth Alliance can't go
       around being the galaxy's policemen," says the senator, "They want
       to fight it out, let'em. Just keep us out of it - at least until
       after the election."
     * One of the most alien moments was watching Delenn try to
       understand Garibaldi's cartoons and popcorn. She is at times a
       sage, and sometimes an innocent.
     * Sinclair claims he confiscated data crystals detailing Narn
       communications that confirm Londo's claims about the situation at
       Ragesh 3. However, Sinclair has bluffed before (cf: [26]"The
       Gathering"). There is no proof that the crystals actually
       contained data.
       
Notes

     * Centauri have no major arteries in their wrists.
     * Garibaldi knows about the habitual movements of the senior staff
       (Sinclair turning off his link during down time at C&C, Ivanova
       going to the bar after work).
     * Garibaldi has had prior experience with the raiders. ("I knew
       they'd be back sooner or later.")
     * Ships move to and from the "secondary jump point" through
       hyperspace via the primary.
     * Starfuries can take multiple hits from Narn heavy weapons without
       losing function.
     * Earth is ruled by a Senate and a popularly elected President,
       though it remains to be seen how much these positions resemble
       those of today's USA. America, Russia, and China are among the
       "states" in this democracy.
     * A Senate subcommittee can dictate Sinclair's vote on the council.
     * G'Kar's [27]spoo was quite fresh that week.
     * Sinclair attributes two aphorisms to his father:
       "The best way to understand someone is to fight him, make him
       angry. That's when you see the real person."
       "Ignore the propaganda. Focus on what you see."
     * _Kosh speaks:_
       K: They are alone. They are a dying people. We should let them
       pass.
       S: Who, the Narn or the Centauri?
       K: Yes.
     * Shipping companies buy access to the jumpgates in bulk, then sell
       it on the open market. However, the schedules are kept secret to
       protect against piracy.
     * All incoming ships log their routes through Ivanova's console.
     * A Narn weapons deal always includes an advisor who instructs the
       buyer in the weapons' use and insures they aren't sold to a third
       party.
     * All Earth Telepaths are given three options: join the Psi Corps,
       go to jail, or [28]take drugs. Unlicensed telepaths are heavily
       controlled in the name of protecting public privacy.
     * Luis Santiago wins the presidential election over challenger Marie
       Crane. His platform included promises to cut the budget and keep
       Earth out of war. His agenda for his coming term includes
       cultivating a closer relationship with the Mars colony and
       "preserving Earth cultures in the face of growing non-Terran
       influences" (cf: [29]"The War Prayer", [30]"Survivors")
       
jms speaks

     * The first one-hour episode of the series, "Midnight on the Firing
       Line," does a fair amount of re-introduction, for those who've
       seen the pilot and need to be up to speed, and some introducing
       for those who haven't. It is, however, largely an action-oriented
       story, into which we weave the characterization. It manages to
       convey some of the same info as the pilot, but in a *much* more
       dramatic fashion.
     * No, the show isn't a year and a half late. As it is, it's less
       than one year since the pilot aired. It was our initial hope, and
       my initial belief, that we'd go straight into the series as soon
       as we finished the pilot. But the studio, in its infinite wisdom,
       decided that since they HAD a pilot, it kinda behooved them to air
       it and get the ratings before committing to a series. So we then
       waited until February for the airing, got the go-ahead to
       production around April/May, began shooting in July, got a whole
       bunch of episodes in the can, and now we're hitting the air. That
       is the sum and substance of it.
     * We'd always figured on going right to series, but once we had done
       the pilot, the studio said, in essence, "Well, we've got a pilot,
       we don't know if the market will sustain more than one space SF
       series, no other SF series has done well lately...maybe we ought
       to air the pilot first, and get the ratings, before committing to
       a series." And that's what happened...much to our consternation at
       first, but in the long run it was a blessing in disguise, because
       that interim period allowed us to really do a lot to make the show
       better.
     * Approximately nine months have passed since the time of the pilot
       and the birth of the series.
     * I *love* [31]"Duck Dodgers." I have virtually all of the WB
       cartoons on tape or disk, and from where I sit, that's wonderful
       stuff that'll be around for a long, long time. No omens, just
       something I thought would be fun. (Again, connecting
       past/present/future, sort of our B5 theme.)
     * "Midnight on the Firing Line" as a title was more my feelings
       about the episode and the series. I knew we'd come under
       considerable fire, figured it was cool.
     * _"...and if our future lies on the firing line, are we brave
       enough to see the signals and the signs...."_
       -- Harry Chapin
       Just a thought.
     * Ah, but you're assuming that the Londo-strangling-scene is as it
       seems to be; maybe it is, but maybe it isn't. You don't know the
       context yet.
     * Down the road, we will be seeing more of Londo, and his people,
       and realize that they aren't as human looking as they first
       appear.
     * The Raghesh 3 claim is only about 20 years old; the Centauri came
       to Narn over a hundred years ago.
     * You're correct in your appraisal of the "coincidences" in the
       first episode. Upon finding that Londo's nephew was there, they
       would of course trot him out to try and undermine Londo's
       credibiltiy (you'll note that G'Kar made special mention of this,
       as if to say, "Is the Centauri ambassador calling his own nephew a
       liar?"). It'd be the same thing if the son of an American
       ambassador was on-hand when hostages were taken. As for the choice
       of the attack's location...Londo wanted his nephew "far away from
       all this." Someplace safe. A fairly safe, mundane place is not
       going to have a major military presence...and hence is a perfect
       target for attack.
     * RE: the spotlights, we'd figured that since the transport had been
       freshly attacked, there'd be debris all over the place, and lots
       of particulate matter which would show up in the light.
     * Quick replies to your questions: Spoo is. What else can one say
       about spoo?
       The Centauri station actually was rotating, as I recall, it's the
       camera angle that I believe doesn't showcase it as well as it
       might.
       The scanners on the Starfuries detected no movement, no
       atmosphere, no signals, no warmth of bodies.
       The lights on the fighters during the examination of the rubble
       were visible due to particulate matter spewed out during and after
       the attack.
     * What is spoo? Spoo....is.
       (Spoo is also Oops spelled backward.)
     * Spoo is/are (the plural of spoo is spoo) small, white, pasty,
       mealy critters, rather worm-like, and generally regarded as the
       ugliest animals in the known galaxy by just about every sentient
       species capable of starflight, with the possible exception of the
       pak'ma'ra, who would simply recommend a more rigorous program of
       exercise. They are also generally considered the most delicious
       food in all of known space, regardless of the individual's
       biology, almost regardless of species, except for the pak'ma'ra,
       who like the flavor but generally won't say so simply to be
       contrary.
       Spoo are raised on ranches on worlds with a damp, moist, somewhat
       chilly climate so that their skin can acquire just the right shade
       of paleness. Spoo travel in herds, if moving a total of six inches
       in any given direction in the course of a given year can actually
       be considered moving. They stay in herds ostensibly for mutual
       protection, but the reality is that if they weren't propped up
       against one another, most of them would simply fall down. They do
       not howl, bark, moo, purr, yap, squeak or speak. Mainly, they
       sigh. Herds of sighing spoo can reportedly induce unparalleled
       bouts of depression, which is why most spoo ranchers wear earmuffs
       even when it's only mildly cold, damp, wet and dreary outside. If
       there is any life-or-death struggle for dominance within the spoo
       herd, it has not yet been detected by modern science.
       Spoo ranching is one of the least regarded professions known.
       Little or no skill is required, once you've got a planet with the
       right climate. You bring in two hundred spoo, plop them down in
       the middle of your ranch, and go back to the nearby house. Soon
       you've got more. When it comes time to cull out the ones ready for
       market (the softest, mealiest, palest, most forlorn-looking spoo
       of the pack), little physical effort is required since they're
       incapable of rapid movement without falling over (see above). They
       do not resist, fight, or whine; they only sigh more loudly. When
       spoo harvest time comes, the air is full of the sound of whacking
       and sighing, whacking and sighing. Even an experienced spoo
       rancher can only harvest for brief periods of a time, due to the
       increased volume of sighing, which even the sound of whacking
       cannot altogether erase. (also see above) Some have simply gone
       mad.
       Spoo are the only creatures of which the Interstellar Animal
       Rights Protection League says, simply, "Kill 'em."
       Fresh spoo (served at an optimum temperature of 62-degrees) is
       served in cubed sections, so that they bear as little resemblence
       as possible to the animal from which they have just been sliced.
       Spoo is usually served alongside a chablis, or a white zinfandel.
       Further information on the care, feeding, eating and whacking of
       spoo can be found in the second edition of the Interstellar Guide
       to Fine Dining.
     * Re: your desire to make and eat spoo at home...depends on whether
       or not you ever want to have children later....
     * _What does spoo taste like?_
       Meat Jello.
       Served chilled.
     * At the point in which we join the tale of the last of the Babylon
       stations, *everything* is in a state of flux...one government is
       on the rise, another is declining, Earth is taking some new and
       disturbing directions...so yes, they all feel there is a change
       coming. It's a little thing, but we keep it alive to keep a sense
       of something moving on a web, and each movement makes the whole
       thing shake just a little.
     * Re: the "last" of the Babylon Stations...y'all might want to bear
       in mind the syntax of the narration. It speaks of B5 in the *past
       tense*. "Bablyon 5 WAS the last of the Babylon stations...it WAS
       the dawn of the third age of mankind." The narration is the voice
       of future history, the storyteller, long after the fact, spinning
       for us the tale of the last of the Babylon stations.
     * I never said it was an isolationist president. The reporter doing
       the commentary at the election talked about preserving earth
       culture in the face of growing alien influences, which isn't quite
       the same thing as cutting off trade agreements.
     * You'll get a pretty good glimpse into why Sinclair jumps into a
       fighter any chance he can get in "Infection." Part of it is to
       escape from stuff...the other goes much deeper, and much
       darker....
     * Here's what I find curious (not necessarily in direct response to
       anything you said, but in general on this topic)...is that when
       Ivanova makes her remark to Garibaldi about snapping his hands off
       at the wrists, many people have assumed that she was insulting
       him, berating him, being bitchy, truly disliking and threatening
       him.
       But the same words, put in the mouth of another male, wouldn't
       have drawn that reaction, and would've been classified under,
       "kidding around" or affable sarcasm.
       Which is exactly what it is in this case. In this place and this
       time, they're comfortable enough to mess with each other without
       it being taken seriously (among these characters, that is). There
       are times they kinda like to phuque with each other a bit, justfor
       the hell of it, as comrades will sometimes do. ("Babylon Squared"
       has a great example of Sinclair and Garibaldi messing with
       Ivanova.)
     * Sinclair's line, "Cut acceleration," was in regards to forward
       momentum, so he could more easily spin the fighter around.
     * RE: the Raider ships...they turned by a less effective system of
       thrusters put in here and there, not nearly as powerful as the
       systems used by the Starfuries. The reason -- verifiable by the
       shape of the Raider ships -- is that Raider ships are handicapped
       by the fact that they're made to function both in space *and*
       within an atmosphere (hence the aerodynamic wing shapes), which
       gives it something of a problem when dealing with the Starfuries,
       which are made ONLY for fighting in space, and are most ideally
       suited to it. The Raider ships make compromises for greater
       utility, which is generally okay unless they run into superior
       forces of ships designed for spaceborne combat.
     * The symbol Talia wears isn't a Link or any other kind of
       communications system; it is *strictly* a form of identification,
       tagging her as a telepath and a member of the Psi Corps. It serves
       no other function.
     * Correct, Christopher Franke designed Kosh's voice.
     * That the Centauri *claimed* that we were a lost colony is not the
       same as indicating that we *believed* them.
     * I like it when people lie in television, and we find out about it
       over time. The "lost colony" routine was one such. At one point,
       Garibaldi confronts Londo with this as reason for why he doesn't
       trust the Centauri. Londo shrugs it off as a "clerical error."
       There will be a few points in the series when we'll get
       information, and we'll buy into it...and discover after a while
       that that character bald-facedly lied to the other character (and,
       by proxy, to us). And naturally there will be consequences to
       this....
     * In "Midnight," Sinclair is really not given a chance to show his
       character, since it's basically a reintroduction to the series,
       and there is a lot to cover. He functions throughout the episode
       only in his official capacity. In other episodes, you'll get to
       see some very different sides to his character, particular in
       "Parliament of Dreams."
     * Re: Sinclair getting into a fighter...there were a number of
       reasons for this, one of which being he wanted a good reason to
       avoid being in on the counsel vote, given his marching orders. But
       more than that ...I would point out that this isn't Star Trek, and
       Sinclair isn't Picard; he is first and foremost a pilot. He loves
       to get into a fighter and take it out He's a fighter. That's when
       he is most at ease. That's what his character *is*.
       At the same time, however, there are consequences for that kind of
       behavior, as you point out. And there are deeper reasons for what
       he is doing than even he want to admit. Tell you what...table that
       aspect until after you've seen the last part of "Infection," which
       deals *with this exact issue*.
     * My thought, at the time, was that if we play the reality of this
       for a moment, probably *all* of the ambassadors have some kind of
       weapon, smuggled in via diplomatic pouches. Garibaldi and Sinclair
       know they're there...question is, is it worth starting a
       diplomatic incident over, as long as they're not being used?
       Garibaldi is saying, in essence, "Okay, you know it's there, and I
       know it's there, but now you've made a point about it. Lose it or
       hide it, or I'm going to have to charge you, and we're BOTH going
       to be up to our ears in it." If Garibaldi confiscated it, there'd
       be a whole diplomatic hassle... and Londo would just have another
       one sent to him via diplomatic pouch.
     * It's interesting what we can read into faces...in Delenn's
       reaction, I saw concern, angst, but not that she believed the
       story. That certainly wasn't the intent of the scene, or the
       script...faces are interesting things. As for the rest, you're
       right; not everyone wants to do the Right Thing For The Right
       Reasons. Some would prefer not to get involved. So some might want
       deniability, want a reason not to go up against the Narns, or have
       sold out their votes. A human looking at that screen could tell
       that the person was being coerced...but what about the other alien
       races, to whom a downcast face could be a sign of joy? In any
       event, suspicion is one thing, but *proof* is another, and the
       legal system works on *proof*. Nothing could be done until they
       had the proof that Sinclair got at the end, and chose to use
       behind closed doors to the same effect.
     * You may think it was obvious that the nephew was reading at
       gunpoint, and in fact, he was...but thinking something or
       suspecting something isn't the same as proving it. Londo could
       say, "He was reading at gunpoint!" And G'Kar could say, "No, he
       wasn't." Where do you go from there? (And, in fact, that's
       *exactly* what Londo said...only to have G'Kar deflect it.)
       Re: why Londo didn't show the clips...at this point, there's not
       any quesion in anyone's mind about the attack taking place. The
       Narns say they were invited in to help quell internal strife. That
       the events took place isn't at issue; it's *why* and whether or
       not they were invited in. (As with Germany in WWII indicating that
       some places "invited" them in.)
       Had Sinclair shown the evidence, it probably would've just
       hardened G'Kar. Also, most politics is back-room dealing. You do
       this in public, and you make a terrible enemy who'll strike back
       as soon as he has a chance. Let him have his dignity, save face,
       BUT get what you want, and there's room to maneuver in future.
       It's the difference between being a punch'em-out hero, and someone
       who has to be diplomatic, within limits.
     * Sinclair did not -- repeat, did NOT -- "tell Ivanova to defy
       Earth's orders and deceive the council." He set up a situation in
       which he would say that he was unable to catch up with her and
       pass along the Senator's instructions before he had to leave. Her
       line would be that "The Commander never told me," and he would
       back this up. (And that he would hedge the truth this way is
       hardly "perfect.")
       Defying the Senator's orders would be telling them that the vote
       will NOT be made as ordered. That never happened.
     * In "Midnight," Sinclair had to be pretty much in command mode all
       during the episode as a character, so that influences the result.
       But in later episodes, we get him out of those situations, out of
       uniform, and into other settings where he can be more relaxed. So
       that's coming, and you'll see it *very* early on in the first
       season.
     * Yeah, the Sea Witch is the one that rotates and fires at one of
       the Raiders. It's a woman's face in a green and blue background.
     * As a matter of fact, in a couple of episodes you'll see a photo of
       the Earth Alliance president. The photo itself is of Doug Netter,
       my associate on the show and fellow executive producer. (The woman
       running against the incumbent president in the election featured
       on "Midnight" is played, in photo, by our wardrobe designer, Ann
       Bruice.)
     * Yes, Vir is very obsequious in "Midnight." That's done in order to
       give his character somewhere to go, as gradually he begins to
       stand up to Londo and talk back.
     * Re: Vir...that was the first episode filmed with his character,
       and he wasn't directed as well as he might have been. We pulled
       him back a lot in later episodes.
     * Vir calms down. Trust me.
       He even manages to nail Londo from time to time...as he does when
       Londo suffers a rather nasty hangover in "Born to the Purple."
     * If there's anything about "Midnight" that I would change...ehh...
       that's a tough question to ask any producer or writer. I can't
       think of anything I've done that I wouldn't want to go back and
       tweak. The only real drawback we had was that we were still
       building sets as we filmed our first few episodes, so we didn't
       have access to all of the full range of sets. Not that we really
       needed them, the story works fine in the sets we had, but we
       could've moved one or two shots around into different sets just
       for variety.
       But aside from general tweaking, I don't think there's really
       anything I'd change in it. My problem is that I'm too close to it,
       and there are a number of episodes we shot afterward that blow it
       right out of the water in terms of quality, production values and
       the rest; I'd have to say that my favorite shows to date, in
       order, would be The Parliament of Dreams, Mind War, And the Sky
       Full of Stars, Soul Hunter, Born to the Purple, Midnight,
       Believers, Infection, The War Prayer, Survivors and Grail.
       Chrysalis, which we're shooting now, will probably take over the
       Favorite #2 spot from Mind War. We're fighting to make every
       episode better than the one before it.
       We're going to have a brass plaque put up here in the offices one
       of these days, before we finish, saying, "If you're not here to
       kick ass, get out."
     * What you and the others seem to be pointing out is what I've been
       trying -- imperfectly, as best I can -- to communicate for some
       time. In the case of "Midnight," can you follow that show and
       enjoy it absolutely on its own terms? I believe that is the case.
       There's another level there, the "little clues and hints" you
       mention, which will just skate past most casual viewers and not in
       any way interfere with their viewing of the episode...but if
       you're paying attention, and you catch them, it adds a new level.
       The more you see, the more you begin to perceive that second
       level. It's a cumulative effect that doesn't diminish the single
       episodes as stand-alones.
     * (Lost the last paragraph of my message.) In any event, what I'm
       striving for is the idea that you can watch the episodes for the
       character stories, OR the story arc, OR the individual stories, OR
       all three at the same time, all in the same exact episodes. You
       can get out as much as you're willing to find.
       It's a very weird kind of writing...but at least on this end, it's
       kinda fun, actually.
     * I agree, most of the plot lines are tied up pretty well (except
       for the telepath issue introduced at the end, which comes back at
       us again...as does, incidentally, the Raghesh 3 incident and other
       stuff). In responding to some of the criticism of the pilot, I
       tried to make this one far more self-contained. Which is why I
       much prefer "Parliament," "Mind War" and "Soul Hunter" over
       "Midnight."
     * Did we save anything for the rest of the season? Lemme put it to
       you this way...you ain't seen *nothin* yet. "Midnight" makes just
       about everything done before for TV look lame...but there's stuff
       coming down the pike that'll make "Midnight" look pale by
       comparison. With each show we get better, we learn more, and we
       can *do* more.
     * In the teaser scene you refer to in "Midnight," you've got a
       couple dozen fighters coming in alongside about 3-4 motherships
       (or capital ships, either term will suffice). We've always said
       that big ships can punch through and form their own jump points.
       That's how the jump gates get there in the first place: a big ship
       comes through, on its own, and leaves behind a jump gate. There's
       no contradiction. One (or more) of the big ships was creating the
       point of entry as it went.
     * During the con appearance, Jerry told a story that *I* hadn't
       heard before. There's a scene in the script "Midnight on the
       Firing Line" in which Talia (Andrea) goes into a transport tube,
       finds Garibaldi, and asks some questions about Ivanova. They
       rehearsed it several times, this being Andrea's first time on the
       set, and filmed one take. She comes down the hall, comes to the
       pen...and Garibaldi's pants are down around his ankles. Needless
       to say, that shot did NOT end up in dailies....
       There are days I think -- between Jerry, Harlan, me and some
       others involved on the show -- we ought to name this Loose Cannon
       Productions....
     * Behind-the-scenes humor: because it had been so long since the
       pilot, it took a few of our actors a bit of time to get back into
       their characters, to find the characters' "fingerprints" for lack
       of a better term. This is quite understandable given the long
       waiting period. When he needed to find his character for a scene,
       Peter Jurasik mentioned that he would just stand up straight and
       yell, "MISter GariBALdi!" and he'd be right back in character.
       Sort of the B5 version of "Shazam!"
       Minus the lightning bolt, of course.
       
     _________________________________________________________________
                                      
   Originally compiled by Matthew Ryan _matt@uhs.uchicago.edu_

   [37][Next] 
   
      [38]Last update: January 13, 1998

References

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   2. LYNXIMGMAP:file://localhost/lurk/maps/maps.html#titlebar
   3. file://localhost/home/woodstock/hyperion/docs/lurk/background/001.shtml
   4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/001.html
   5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/001.html
   6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
   7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html
   8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/002.html
   9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#OV
  10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP
  11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#UQ
  12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#AN
  13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#NO
  14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#JS
  15. http://us.imdb.com/M/person-exact?+Hampton,+paul
  16. http://us.imdb.com/M/person-exact?+Trencher,+Peter
  17. file://localhost/lurk/p5/intro.html
  18. file://localhost/lurk/p5/001
  19. file://localhost/home/woodstock/hyperion/docs/lurk/guide/016.html
  20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/017.html
  21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP
  22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html
  23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/011.html
  24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/012.html
  25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html#AN:5
  26. file://localhost/home/woodstock/hyperion/docs/lurk/synops/000.html#nanobluff
  27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#JS:spoo
  28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#BP:6
  29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/007.html
  30. file://localhost/home/woodstock/hyperion/docs/lurk/guide/011.html
  31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/245.html
  32. file://localhost/lurk/lurker.html
  33. file://localhost/home/woodstock/hyperion/docs/lurk/guide/001.html#TOP
  34. file://localhost/cgi-bin/uncgi/lgmail
  35. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
  36. file://localhost/home/woodstock/hyperion/docs/lurk/guide/000.html
  37. file://localhost/home/woodstock/hyperion/docs/lurk/guide/002.html
  38. file://localhost/lurk/lastmod.html