Perhaps it is easy to admire someone with a talent that you yourself have no pretensions to. Envy doesn't intrude. And if they live and work far, far away from your own milieu, then the capacity for romanticizing kicks in.
That must explain some of my admiration for a certain stage actor who stars in one of the episodes of Star Trek that I fall asleep to on many a night. He was John Colicos, a Canadian stage actor who also had a Hollywood career. He plays the first Klingon in Star Trek (the first season episode, "Errand of Mercy.")
It is almost a good thing that the story doesn't interest me that much. Nor does the outdoor scenery -- there were no Trona Rocks in this episode; it was shot almost entirely on stage. Nor is there an alien hottie to be romanced by Captain Kirk, as there usually was. No distractions. Nothing but that remarkably nuanced voice of Mr. Colicos. He could have read the telephone white pages and made it sound interesting.
Although his character didn't really say anything profound, he was a charming villain. It really is the villain that makes the story.
________________________________________
Commentary tracks on DVDs are developing as a new medium right in front of our eyes these days. Once I was listening to Sidney Lumet on the commentary track of "Network." He expressed the greatest respect and appreciation for the writer, the late Paddy Chayefsky.
He also reminisced about the early days of television, which was largely "live" television, produced in New York City. At the time I thought he was just doing an old-man-nostalgia thing, or looking at the issue from the prejudices of a theatre-oriented, New York City local yokel. But now I'm not so sure. Maybe he was right.
Imagine working in live television in New York City in the early 1950s. Television was unshaped, unrealized. But anyone could see how important it would become: a TV set in every household in America, just the thing that had happened to automobiles, radio, and so many other things. There are always such high hopes when a new and big project is started. (Before reality sinks in.)
New York City had a deep pool of talented theatre actors, directors, set designers, musicians, and writers. Only a few would become stars. The rest waited on tables at restaurants most of the time. Now, suddenly, there was more employment; not a great part on the TV show perhaps, but at least a chance to practice their craft and be exposed to a wider circle of directors and producers.
The world of theatre was available to a few ten-thousands of people living in large cities and with large incomes. Television was reaching the millions. It must have been an exciting time of great optimism.
Look at the advantages television had over live theatre, with its need to reach the back row, its goofy makeup, the over-acting, and the stentorian vocal delivery. Television had multiple cameras that could zoom in; everybody in the audience had a great view.
Movies tend to be a visual medium. The star is actually the Director, then the beautiful leading actors and actresses, the camera itself, and in modern times, the computer-generated special effects. But try naming three important scriptwriters in the movies!
On the stage, the playwright is the star. Television lends itself to the same quality. Whether heralded or not, the television writers were the real stars. Usually writers are rather unglorified, but Star Trek credits start off with the writer first and in the biggest letters. Does any reader know whether this was rather unique? Is the emphasis on good scriptwriting the key to its anomalous longevity and success?
Talented and imaginative writers, great lines, less camera-worship, and actors like John Colicos; and all available virtually for free to the whole world. What television could have been!
And what will the generation-to-come think of those of us who experienced the naive and optimistic salad days of the early internet?
That must explain some of my admiration for a certain stage actor who stars in one of the episodes of Star Trek that I fall asleep to on many a night. He was John Colicos, a Canadian stage actor who also had a Hollywood career. He plays the first Klingon in Star Trek (the first season episode, "Errand of Mercy.")
It is almost a good thing that the story doesn't interest me that much. Nor does the outdoor scenery -- there were no Trona Rocks in this episode; it was shot almost entirely on stage. Nor is there an alien hottie to be romanced by Captain Kirk, as there usually was. No distractions. Nothing but that remarkably nuanced voice of Mr. Colicos. He could have read the telephone white pages and made it sound interesting.
Although his character didn't really say anything profound, he was a charming villain. It really is the villain that makes the story.
________________________________________
Commentary tracks on DVDs are developing as a new medium right in front of our eyes these days. Once I was listening to Sidney Lumet on the commentary track of "Network." He expressed the greatest respect and appreciation for the writer, the late Paddy Chayefsky.
He also reminisced about the early days of television, which was largely "live" television, produced in New York City. At the time I thought he was just doing an old-man-nostalgia thing, or looking at the issue from the prejudices of a theatre-oriented, New York City local yokel. But now I'm not so sure. Maybe he was right.
Imagine working in live television in New York City in the early 1950s. Television was unshaped, unrealized. But anyone could see how important it would become: a TV set in every household in America, just the thing that had happened to automobiles, radio, and so many other things. There are always such high hopes when a new and big project is started. (Before reality sinks in.)
New York City had a deep pool of talented theatre actors, directors, set designers, musicians, and writers. Only a few would become stars. The rest waited on tables at restaurants most of the time. Now, suddenly, there was more employment; not a great part on the TV show perhaps, but at least a chance to practice their craft and be exposed to a wider circle of directors and producers.
The world of theatre was available to a few ten-thousands of people living in large cities and with large incomes. Television was reaching the millions. It must have been an exciting time of great optimism.
Look at the advantages television had over live theatre, with its need to reach the back row, its goofy makeup, the over-acting, and the stentorian vocal delivery. Television had multiple cameras that could zoom in; everybody in the audience had a great view.
Movies tend to be a visual medium. The star is actually the Director, then the beautiful leading actors and actresses, the camera itself, and in modern times, the computer-generated special effects. But try naming three important scriptwriters in the movies!
On the stage, the playwright is the star. Television lends itself to the same quality. Whether heralded or not, the television writers were the real stars. Usually writers are rather unglorified, but Star Trek credits start off with the writer first and in the biggest letters. Does any reader know whether this was rather unique? Is the emphasis on good scriptwriting the key to its anomalous longevity and success?
Talented and imaginative writers, great lines, less camera-worship, and actors like John Colicos; and all available virtually for free to the whole world. What television could have been!
And what will the generation-to-come think of those of us who experienced the naive and optimistic salad days of the early internet?
Comments
I did a search for famous scriptwriters and found a site "List of Famous Scriptwriters" that had 65 names, Larry was not among them . Most of them I did not recognize but the one I did was a surprise, Robert Culp.
Regarding voices, I really liked John Huston and enjoyed his narration in the movie Cannery Row.
Jim