BBFC VII Extras News Posted by John Hoare on 10th October 2005, 22:20 Here we go. What? Oh, erm, sorry. Here we go. So, let’s see what we’ve got in the magic bag, here: 00:20:55:19 (NO TITLE ON SCREEN – MUTE) 00:10:18:22 (NO TITLE ON SCREEN – MUTE) Presumably, one of these is the raw model footage, and the other is the raw CGI footage. 30 minutes of raw footage, there. 00:02:31:03 RED DWARF – BURNING RUBBER The music featurette – and likely to be the best of the lot, being concerned with THINGS CRASHING. Music is Buck Rogers by Feeder, which I’ve not heard as I’m an ignoramus. 00:02:42:16 EASTER EGG – CHLOE ANNETT AUDITION BREAKING NEWS ON GANYMEDE & TITAN! There’s really not much more to be said, apart from: fucking wow. We knew a snippet was to be used in the Back From The Dead documentary, but it’s great that we’re going to get a larger section as well. 00:01:23:05 EASTER EGG – RED DWARF TRAILER An interesting decision to make a trailer an egg. Wonder what’s special about it… 00:04:12:23 RED DWARF – TIKKA TO RIDE (SCENES FROM FEATURE) I suspect this is the new CGI footage for Re-mastered Tikka To Ride, unless Andrew comes along and points out that I’m an IGNORANT PRICK. 4 minutes worth? Excellent. 00:01:25:02 RIMMER SONG (AUDIO) Audio? The music cues are never usually classified, so no idea why this has been. Odd. Less than a month, people. Less than a month. Unless you’re A FILTHY FOREIGNER. In other DVD news, the TOS update this month was the news of the Series III Czech release, out this Wednesday. Series IV is out shortly, so fuck knows what non-fans will make of the change of the ship. Finally, here’s a question – what do you think has been the most expensive Dwarf extra to date? Well, Andrew revealed the answer recently on the Webboard – it’s Identity Within – not just because they have to pay Chris Barrie, but because they had to get back performance rights to the script after they had lapsed. I never even thought about things like that…
They had to buy back performance rights? Does that mean that if they had included a viewable version of the script instead of an audio reading they wouldn’t have had to buy back any rights?
I like the fact that the BBFC go out of their way to say ‘the Board does not in fact take any view on whether or not female ejaculation exists’. This gets them out of a tight hole, so to speak. But apparently a ‘a female sexual health expert’ i.e. the old biddy that classifies movies and extras at the BBFC, deems that ‘the pornographic tapes so far presented to us as examples of ‘female ejaculation’ are in fact nothing other than straightforward scenes of urination masquerading as ‘female ejaculation”. Cool. I wonder how many movies they had to watch to cum to that conclusion? Er, that easter egg trailer must be something different because it’s over a minute long. Was there ever a preview of VII on a video or anything? I can’t remember. It just says ‘Red Dwarf trailer’, no mention of it being for VII. Maybe it’s actually a small feature about a trailer (American word for caravan) painted up as the Dwarf, hence ‘Red Dwarf trailer’.
Music is Buck Rogers by Feeder, which I’ve not heard as I’m an ignoramus. Oh, you’ll know it when you hear it.
> 00:02:42:16 EASTER EGG – CHLOE ANNETT AUDITION *sigh* I was hoping they wouldn’t detail the eggs. Typical. Ah well – you’ve still got to find them… > An interesting decision to make a trailer an egg. Wonder what’s special about it… Interesting one, this; a little something different. Wait and see! > I suspect this is the new CGI footage for Re-mastered Tikka To Ride, unless Andrew comes along and points out that I’m an IGNORANT PRICK. You don’t need my help… :-) Oh, you’re right, though. > Audio? The music cues are never usually classified, so no idea why this has been. Odd. This exact thing happened – I think – last time with Series VI’s Gunmen piano music, and I think I discussed it then. We couldn’t locate a DAT, but tracked down the music on Digi-Beta, so, as before, included it on the delivery tape with the other extras for convenience. That tape got duped to the BBFC, which means they classify it, even if we don’t need it to be. > Series IV is out shortly, so fuck knows what non-fans will make of the change of the ship. I never understood this part of the argument against the remastered eps. What will they make of it? “It’s a new series”, probably. How did you cope with the change of sets, Holly and Kryten at the start of Series III? Kryten had a new voice and look – gasp! (And don’t give me that ‘opening scrawl’ explanation – nodbody clocked the text of that on first broadcast!) Audiences are insanely resilient, and often pretty vague. Dedicated viewers may ask the question, but ‘because they changed it’ is usually assumed to be the answer (or they can dig deeper and learn about the full story online), and that’s enough. But casual viewers – by far and away ANY show’s main audience – will often not even notice!
> They had to buy back performance rights? Does that mean that if they had included a viewable version of the script instead of an audio reading they wouldn’t have had to buy back any rights? Nah – that’s home video distribution, which is different from the deal done for a development draft. When an ep goes into production, the writer’s deal these days will usually include provision for his payment on video use; but that was never done for early drafts. Any distribution of any kind would have cost the same. Performance/usage rights lapse after a number of years of a script not being made. It’s standard – make it before a certain date, or the rights revert to the writer. Which means he can sell it elsewhere. Not that that’s possible here – the situation’s developed with Doug and Ed, and the characters and situations are GNPs, so John couldn’t really have sold the script elsewhere! Ownership ends up between two stools – but it doesn’t change the fact that we couldn’t use it without a new deal.
I did wonder actually whether the Rimmer song extra was a similar thing to the VI Gunmen thing, but, erm, didn’t mention it. I thought I’d done enough guessing for one article… I suppose the ship thing seems so odd between III and IV because apart from that, the show remains pretty similar in sets and format – I think it would feel less odd if it was changed between 2 and III, or VI and VII, for instance. Although I take your point about audiences being resilient and/or unobservant. I remember a *magazine* review of the Re-mastered series which said there wasn’t much difference between it and the original!
>the situation’s developed with Doug and Ed, and the characters and situations are GNPs, so John couldn’t really have sold the script elsewhere! So we’ll never see a version of The Identity Within reworked to suit the cast of Last of the Summer Wine? Noooooooooooooo!
Sooo Chloe got to the final stage, and did a screen test. Where all the suitible candidates screen tested? And who else got this far? Or was it just Chole was first in the queue and they said ok you are just what we are looking for? and leave the bribe at the door?
“But casual viewers – by far and away ANY show’s main audience – will often not even notice!” “I remember a *magazine* review of the Re-mastered series which said there wasn’t much difference between it and the original!” Well after all this time of being informed that people would complain if they didn’t get precisely the same version on DVD that they’d grown used to on broadcast, and mutter that those spectacular CGI effects were replaced with crummy models somewhere between 1998 and the late eighties when people went retro all of a sudden for no reason. Gah!
>Section of Chlo? Annett’s audion tape as egg! That’s what it says on the main page. What exactly *is* an ‘audion tape’? *pedantic mode*
