All credit goes to the amazing Luna over on Tenforward.social.

Seriously. A fucking awesome person with an even better taste in memes. Also great at giving hugs and a thousand times funnier than I am.

PNG template for the ‘This Guy Sucks’ part can be found here as provided by the equally epic and truly wonderful Maurice over on Tenforward.social, although originally created by ‘ihaveaweirdidea’ over on Tumblr.

So happy that I’ve been able to spend my time lately around two people who are so kind, generous, and incredible. You could do a lot worse than following them on Mastodon. Just saying.

  • Flying Squid@lemmy.worldEnglish
    892·
    2 年前

    For those who don’t know how much Rick Berman sucks:

    “He’d comment on your bra size not being voluptuous. His secretary had a 36C or something like that, and he would say something about ‘Well, you’re just, like, flat. Look at Christine over there. She has the perfect breasts right there.’ That’s the kind of conversation he would have in front of you. I had to have fittings for Dax to have larger breasts. I think it was double-D or something. I went to see a woman who fits bras for women who need mastectomies; I had to have that fitting. And then I had to go into his office.”

    – Terry Farrel

    “Apparently someone had told Whoopi that we had written the episode, so she came over and started asking us if she could change one of her lines. And we were like ‘Oh you have to talk to Rick Berman. That’s Rick Berman’s domain. Only Rick Berman can go through and change the dialogue.’ There are some shows where actors just ad lib their lines, then there’s Star Trek where you have to say exactly what’s on the paper. So, I as a courtesy said I would let the production office know that she had a question about the script… Rick’s response was ‘Why the hell was Whoopi Goldberg talking to Eric Stillwell? What was he doing on the set?’ The next thing I know, I’m banned from the set. Just for passing on a message… and it was humiliating, on my episode, that I’m banned from the set.”

    – Trek writer Eric Stillwell

    https://heavy.com/entertainment/star-trek/eric-stillwell-working-with-rick-berman/

    Unfortunately, the article also says Brent Spiner is a big defender of Berman.

      • Flying Squid@lemmy.worldEnglish
        48·
        2 年前

        Don’t forget the fact that he was aggressively homophobic and refused Gene’s wishes to depict the HIV/AIDS crisis in multiple episodes or even have a gay character on the show, including blacklisting a script about the crisis titled Blood and Fire. Not to mention shooting down the Garak/Bashir connection that both actors actively wanted and refusing to allow Malcom in Enterprise to be gay despite his actor also specifically playing him as gay.

        There was also the push to have a male actor play the main androgynous alien in The Outcast that Riker falls for. Frakes was all for it. Berman nixed it.

    • Xanthrax@lemmy.worldEnglish
      241·
      2 年前

      Also: “Since the early 2000’s, several writers of Star Trek material, such as David Gerrold[10][11] and Andy Mangels,[12] have criticized Berman’s participation in removing and minimizing LGBT themes from multiple Star Trek series, including The Next Generation and Deep Space Nine.[13] Berman has responded by saying that he took full responsibility for the lack of such characters and that he had been working with other producers on including gay characters,[14] telling Kate Mulgrew that such a character would be included “in due time”, though no such characters would be included during his time as producer.[15]”

      https://en.m.wikipedia.org/wiki/Rick_Berman

    • JWBananas@startrek.websiteEnglish
      2·
      2 年前

      There are some shows where actors just ad lib their lines, then there’s Star Trek where you have to say exactly what’s on the paper.

      Sorry, neither!

    • Son_of_dad@lemmy.worldEnglish
      511·
      2 年前

      As much as I hate him, I also hate actors who change and ad lib lines. Someone went through this work to phrase or develop a conversation or monologue, stayed up to make it the way they want, then an actor comes and changes it. I realized that while watching the making of Sopranos and David Chase explaining how disrespectful it is to to writer. But yeah Berman sucks.

      • Serinus@lemmy.worldEnglish
        21·
        2 年前

        Maybe, just maybe the actor is more invested in their particular character than the writer. Or maybe the line suits the actor better.

        It’s disrespectful for the writers to expect actors to play their characters without putting anything of themselves into the act.

        It should absolutely be a collaboration, and not one side dictating to the other, with no feedback allowed.

        But I’m not going to downvote a contribution to the conversation just because I disagree.

        • Son_of_dad@lemmy.worldEnglish
          14·
          2 年前

          Like David Chase once said to Tony Sirico when Sirico said “my character wouldn’t say that”

          “Your character?? This is MY character mother fucker, I wrote him”

          Everyone needs to stick to their job and not fuck with the jobs of others. Collaboration is ok, but not on most shows, as most scripts are written just the way they’re meant to be said

          • JohnDClay@sh.itjust.worksEnglish
            7·
            2 年前

            But it’s not there character any longer, they gave them away. The writer isn’t going to be able to, much less should they dictate every little detail about a performance. Those details are so important to a charter, you can’t say a charter is solely the writers creation.

      • JohnDClay@sh.itjust.worksEnglish
        11·
        2 年前

        Sometimes the actors know their characters a lot better than the writers. For example, in the empire strikes back, the original script had Han saying something else, whereas Ford came up with the ‘I know’, which fits much better with his character.

        Kershner: (Tries it out) “I love you.” And you say, “Just remember that, Leia, because I’ll be back.” You’ve got to say, “I’ll be back.” You must. It’s almost contractual!

        Ford: If she says “I love you,” and I say “I know,” that’s beautiful and acceptable and funny.

        Kershner: Right, right.

        • Madison_rogue@kbin.social
          8·
          2 年前

          Or Rutger Hauer in Blade Runner.

          One of the most influential science fiction monologues was ad libbed, and it’s so much better than the original script.

          Original script:

          “I’ve seen things… seen things you little people wouldn’t believe. Attack ships on fire off the shoulder of Orion bright as magnesium… I rode on the back decks of a blinker and watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments… they’ll be gone.”

          Hauer’s monologue:

          “I’ve seen things you people wouldn’t believe… Attack ships on fire off the shoulder of Orion… I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain… Time to die.”

      • funkless_eck@sh.itjust.worksEnglish
        6·
        2 年前

        I’ve worked in all sorts of performance disciplines. Comedia dell’arte, High clown, low clown / children’s ents, improv, film, theatre in pros-arch, round…, puppet , Grotowskian devised theatre, Boalian Theatre of the Oppressed…

        Only one small subset of that work demands word-perfect adherence. Performance is much more than post-Stanivlaskian Aristotlean drama.

        Even Beckett, who was completely, insanely anal about everything from the design of the tree in Waiting for Godot, to the size of the spotlight in Not I, to the length and timing of the tapes in Krapps Last Tape, still made on-set changes right up to the performance.

        Not to mention, often on set the script supervisor will sometimes give you last minute changes between takes.

        Then, no script is ever perfect. I did Glengarry Glen Ross (which is suuuper tight in terms of interruptions, e.g.

        A: “And a man has to shiver in his…”

        B: “…shoes…”

        A: “…boots…”

        B: “…shoes… boots…”

        A: “…And for what?” )

        But one night the cop missed his cue during one of the sections where people are coming in and out of the office to be interviewed, and I’m (as Roma) trying to put the screws on the guy from the Chinese restaurant so I have to keep vamping on convincing him not to call his wife until the cop remembers to come out and confuses him for Shelly Levene.

        It’s so much better for the audience for me to vamp than it is for us to stop the play and go and tell the actor he missed his cue. The show must go on.