>what sorts of issues do you
>consider in determining whether to *change* main people on the team for
>new series. It's not just a matter of whether they have been doing a great
>job or not because sometimes (as, I think, in the case of the DP) you
>just want something quite different for the new series. I'm not asking
>who else you might be changing, but just how you, as Executive Producer,
>go about thinking this issue through for each of the main production
We're not doing a lot of changing. One thing that does tend to get changed for
a new series is the *look* of the show, you want Crusade to have a different
and distinct appearance, to be its own show. So for instance we're bringing in
new graphic designers to do screen stuff and signage and other related stuff.
Other times it's an individual choice. Anne Bruice-Aling recently had a baby,
and she wants to dedicate the next year or so toward raising her kid, so while
she'll remain available for occasional stuff or consulting, we'll have someone
else heading up the wardrobe department.
Mainly, you want to hold onto as many of your original people as you can,
because we've trained our folks to work in a certain, particular way. Nobody
else really does things the way we do them on B5, and it's wiser to hold onto
your crew, and give incentives, to keep them around. (We tend to promote from
within the ranks and reward loyalty rather than bring in new folks, that sort
>(2) What does the document often called the series "bible" actually cover?
>What kinds of background do you think it is helpful to provide to other
>writers in such a document, and what kinds of things do you prefer to
>avoid? (I'm guessing you may be actually writing such a thing right
I put in it basically whatever I think will be useful to anyone, as much as I
can think up. Characters' names, backgrounds, descriptions, the kinds of
stories we are looking for, the kinds of stories we *don't* want to see, what
is good SF and what ain't, sample storylines we plan to develop, that sort of
I'm now in the process of converting over the "sell treatment," done for the
network, to a working series bible, which will go out to those writers with
whom I've either worked before, or whose work I know and have wanted to work
with for a while (as was the case with Neil Gaiman).
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