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09.07.2013, 12:30
09.07.2013, 12:30
Betreff: Re: Gründe zum Versagen von Young Indy
Ne, der action-anteil ist bei der Serie WESENTLICH geringer, eben aus genau deinem Grund: Die Serie hat den Schwerpunkt nicht auf Action gelegt, sondern auf die Geschichte. Gerade den Humor der Kafka-Folge fand ich eher peilich und sehr Indy-untypisch.
Ein Grund für das Versagen könnte auch der Wechsel der Regisseure sein. Zumindest glaubt das SPF:
"We had so many directors. One wanted me to do pratfalls the other one wanted me to be very dark. That was eerie. Some of the shows I really loved and some of them I thought were nonsense. The audience varied from week to week because of that. One episode would plug into 13-year-old boys, then another would get 60-year-old women writing me letters. Some of them were just different altogether. They had the same character, Indiana Jones, but some directors had me do completely different line readings. I would be like, ‘That’s not the character. That’s this absurd farce.’ Some of the directors just resigned themselves to setting up a scene. ‘OK, we have 40 feet of track, let’s track in out of focus, then go in focus. OK, bring in the actors and have them say their things.’ They didn’t even know what the dialogue was.
Ne, der action-anteil ist bei der Serie WESENTLICH geringer, eben aus genau deinem Grund: Die Serie hat den Schwerpunkt nicht auf Action gelegt, sondern auf die Geschichte. Gerade den Humor der Kafka-Folge fand ich eher peilich und sehr Indy-untypisch.
Ein Grund für das Versagen könnte auch der Wechsel der Regisseure sein. Zumindest glaubt das SPF:
"We had so many directors. One wanted me to do pratfalls the other one wanted me to be very dark. That was eerie. Some of the shows I really loved and some of them I thought were nonsense. The audience varied from week to week because of that. One episode would plug into 13-year-old boys, then another would get 60-year-old women writing me letters. Some of them were just different altogether. They had the same character, Indiana Jones, but some directors had me do completely different line readings. I would be like, ‘That’s not the character. That’s this absurd farce.’ Some of the directors just resigned themselves to setting up a scene. ‘OK, we have 40 feet of track, let’s track in out of focus, then go in focus. OK, bring in the actors and have them say their things.’ They didn’t even know what the dialogue was.