(no subject)

[somedaybitch]

so i'm reading Christopher Heyn's Inside Section One, about the television series La Femme Nikita. the book is both insider's in depth look, fangirl's canon/detail dream, and text on all the variables that go into producing a television show. this thing is HUGE. it's 11x14 ish with magazine font and it's a hair over 400 frakking pages long.

i can't wait to get all the way through it but so far it's amazing. even for anyone who's never seen the show but is interested in the world of television and writing, it's, and i hate to use the phrase because it feels so cliched, but it really is a must-read. the book is cover to cover with interviews, and not with just the usual suspects.

i look forward to getting some much needed sleep after i get off work in 30 seconds - fine. *after* i get off work, drive home and crawl into bed - and then getting up and finding a way to get comfortable with this behemoth in order to happily devour its contents. at leisure. over coffee.

oh yeahhhhhhh.

Comments

[kerlin.livejournal.com]

Have you ever read the Deep Space Nine Companion? It sounds very similar to that - they break down every single episode for writing, directing, casting, and talk about what worked and didn't work. It's a really fascinating look into a show that really ran the gamut from awful to utterly brilliant.

[somedaybitch.livejournal.com]

i haven't. i have issues with giving Paramount a dime of my money since they're such moneygrubbing bastards about the boxed sets.

[bantha-fodder.livejournal.com]

I have nothing to say. I just wanted to use my LFN icon.

[(Anonymous)]

mmmmmmmm, War.

[somedaybitch.livejournal.com]

aaaaaaaand that would be me. stupid lj wouldn't log me in. grrrrrrrr.

bf,

any storyteller would find the book amazingly fascinating, i think. in the opening section they talk about the tone they set from the beginning, and how Roy actually was kinda key to where they went because of how he was portraying Michael, and how, based on his and Peta's chemistry - how they could do more with a look than any dialogue - that they realized they needed to underwrite and let the actors go because it was all about the nuances and the hidden layers. they're all very complementary about all the actors, saying how the principle cast could act anything they wrote.