Trent Gilliss, online editor
The production staff diligently spent hours selecting clips from their favorite television series for inclusion in this week’s program with Diane Winston. We’ve even got a title: "TV and Parables of Our Time." Somehow, I am told, downloading and watching 24 and Lost and Battlestar Galactica and The Wire is really hard work. Ah fellow producers, “you suffer for your soup.” *grin*
The professor of religion and media at USC appealed to the heart of Krista’s eclectic consumption of TV series on DVD. After all, they actually have sat together and watched the tube. This enthusiasm spilled over into our search for actualities from these episodes.
And, this passion bore itself out in last week’s cuts and copy session. The script was extraordinarily rough. There were at least five spots for audio clips from some of those series. Then it really got messy — two or three clips with an average length of 3-5 minutes (one more than 8 minutes) were included in the listen. Heads were spinning.
What I experienced was an insider’s perspective. Script was trying to explain too much of each plot, and the opening scene from 24 (“8:00 AM–9:30 AM” - season 2, episode 1) was heavy. So we sussed out the needs of various listeners and focused on illustrating or accentuating a point made at the out-cue. The result: a much better, more listenable production.
What I realized is that I don’t watch that much TV — well, except for my utter obsession of the Tour de France on Versus — and felt a bit sheltered, out of the loop actually, when talking about these dramatic series. Not being part of these conversations and the larger culture is isolating. I’m an outsider who can only politely smile and lean in when Krista and Mitch and Colleen and Nancy start discussing characters like Snot Boogie and McNulty, or Cylons and Caprica, or Jack Shepard and John Locke.
My hope is that an unknowing perspective helps those of you who are in the same boat that I’m in. That Thursday’s podcast clues you in rather than leaving your face pressed against the window watching the family sit in front of a toasty fire, chomping on popcorn and sodas, with a 42” HD screen glowing in the background.
So, here’s a list of the episodes and scenes we considered. I’ve flagged in bold the clips we’re using.
The Wire. The vernacular of the characters is difficult track at first, but somehow your ear tunes in after a while and you get the gist. Nevertheless, the distinct dialects and slang used eliminated a lot of great scenes from consideration for the radio.
House. A late entry to the production process that wasn’t part of the first cuts and copy session. A clip from this series was selected because it’s a different genre of drama and it is a popular series still in production.
Nancy Rosenbaum, Associate Producer
Students who enroll in Diane Winston’s "Religion, Media and Hollywood" class at USC get to watch a lot of good TV. Even better, some of the best TV writers and producers in the business visit their classroom to discuss the influences, themes, and ideas undergirding their shows.
Fortunately for the rest of us, many of these guest lectures are videotaped. Take this 2007 talk by Ronald D. Moore, executive producer of the sci-fi series Battlestar Galactica. He spoke to Winston’s students about the religious influences embedded in the original 1978 version of Battlestar Galactica, including Mormon theology, numerology, and the signs of the zodiac. Moore talks about his development of the mythology of the 2004-2009 version of Battlestsar Galactica to reflect modern concerns around religious fundamentalism and a clash of civilizations propelled by different beliefs.
You can also check out other videos from Winston’s class, including House and Nancy Miller, creator and executive producer of Saving Grace. Both of these shows were mentioned in Krista’s conversation with Winston for our upcoming broadcast, “TV and Parables of Our Time.”Comments
Rob McGinley Myers, Associate Producer
A few weeks ago, Mr. Rogers came up at one of our production meetings, and Krista mentioned that she would have loved to interview him if he were still alive. I remember reading somewhere that Fred Rogers’s original intention in creating a television show was to try to find a space in TV broadcasting for grace.
Not a few days had passed when an episode of Mr. Rogers appeared on my family’s Tivo as a suggestion. I don’t know if PBS has just recently begun rebroadcasting the show, but I decided to see if my kids could connect with him, considering that they watch almost nothing but cartoons.
Having not watched the show myself in almost 30 years, I was surprised to realize how much I actually enjoyed it, especially the mini-documentaries about various factories (in this case, a sleeping bag factory). There’s something extraordinarily reassuring about watching one of the ordinary objects of our lives being constructed piece by piece.
My children were equally captivated, and within minutes my 3 year old was talking
back to the screen when Mr. Rogers asked her a question. Somehow, through the medium of television, he was able to make a genuine emotional connection to a girl that had been born a year after his death. In a CNN profile, Rogers said, “The whole idea is to look into the television camera and present as much love as you possibly could to a person who might feel that he or she needs it.”
Fred Rogers would have been 80 next month.Comments