Yeah, the Siskel and Ebert thing was great. For those who didn't
hear about this...we worked *very* hard to make Captain Power nominally a
show for grownups, screw the toys. And we got hammered in the press,
mainly by people who hadn't watched the show. So one day, I'm watching
SisBert doing their collective thing, a video round-up installment of
their review show...and suddenly they say, look, we don't normally talk
about TV series, but there's this one show you gotta check out, it's got
a dopey name, and forget the toys, but there's something Going On with
this show, it's really got a great story.

It was, alas, too little too late for CP.

jms

Thus far, SisBert do not seem to have noticed B5. Re: The Real
Ghostbusters, that 78 episode first season was a lot of fun...the first
opportunity I had to just go nuts and do anything I wanted to do, and the
producers stood by me, however nuts I got.

jms

Yeah, I walked off the show when they a) decided to emphasize Slimer,
and b) make Janine a "mommie" character rather than the hard-as-nails,
sharp, sarcastic person she'd always been. It wasn't a show I wanted to
do anymore.

I've actually walked off a *lot* of shows in my time, something I only
really realized lately. Walked of The Real Ghostbusters when they softened
it down and knocked all the corners off; walked off Captain Power when the
toy company got too much control over the stories; zipped off Jake and the
Fatman when my exec producers got screwed over (if they went, I went);
finally left Murder, She Wrote to do B5. All but the last were over story
control/story integrity. My agent is frequently driven to distraction over
this. Money doesn't work to hold me. If it ain't right, it ain't right.

jms