Martin: To take a quick break from questions, I'd like to thank you, Mr. Norman, for Episode #12. After Silent Sam's introduction, guiding Matthias back to Redwall, was cut out of the series, I'd given up hope of ever seeing him on the show. To have him appear in all his "silent" glory like that was a real treat.
Michelle: The "Silent" glory of Sam - I like that. (I think GN did a good job too.)
Glenn: Yes, Sam was a real joy to write. Brian did a wonderful job on him and the little guy just seemed to take over ... as some characters will [g].
Martin: Did you know how important some scenes would be to later books and, thus, later (possible) seasons? For example, the need to keep Chickenhound's death vague for his eventual return as Slagar. Did you know about that when you wrote Chickenhound's death or did you find out about it later?
Michelle: Over to you GN. (I love the moment of surprise in the book when you discover Slagar is Chickenhound.)
Glenn: As mentioned above - I only read the books as I wrote them, so, I found out about Chickenhound later - and was VERY surprised - which, of course, is exactly the reaction I was after [g].
NOTE: Bear in mind that Steve DOES know what's coming, which is why he is our "Keeper of the Flame."
Martin: Do the two of you have any favorite scenes or episodes out of your Redwall work?
Michelle: Favourite Scenes.
The fall of Felldoh in the battle for Marshank touched me and I'm partial to scenes with the RAF (Redwall Air Force). The search for Martin's sword in the Abbey roofspaces and the closing victory roll/fly by. The return of Warbeak's flying wing when she releases them before her final battle and, of course, her final moments and tree top tribute. (Whew, nice alliteration there!)
Also, some of Steve's dialogue for Basil makes me LOL. And I love Brian's introductory speeches that are airing on some PBS stations. He has this fabulous voice.
Glenn: Actually - My favourite eps are Michelle's. The Death of Warbeak was an amazingly moving episode - especially as we are talking animation, here. And I also loved the way she deftly handled the very tricky episode on Cheesethief's demise (And I wasn't alone. That Episode was nominated in the Best Children's Drama category at the International Animation Festival in Amalfi, Italy.)
I loved the Redwall eps where Matthias goes to retrieve Martin's tapestry from Cluny. I loved the subterranean eps of Mattimeo. And I get a big kick out of Clogg's slide into madness in Martin The Warrior (currently airing on the Teletoon network in Canada.)
Martin: Was it difficult to learn Brian's dialects, such as Molespeak, Harespeech, and Sparra, so that you could use them in original scenes?
Michelle: I took to Sparra-speech right away, but, when I was first reading Molespeak, I had to consciously break the words down very slowly in my mind. As for Basil and Harespeech, I try to use as much of Brian's dialogue from the books as I possibly can, then rely on my favourite Brits (GN & Steve) to cover any Canadian-isms that might inadvertently intrude.
(When I finished my very first scripts, I had to initiate a "paw check" along with the traditional spell check. I was constantly writing lines like - Matthias grasped the scabbard in his hand.... Oops... So a "paw check" was a computer word search to replace "hand" with "paw.")
Glenn: As noted, I kind of speak like Basil already, doncha know, and Molespeak is so much fun to write that it comes out very easily (though it drives our Spell Checkers absolutely crazy [g].)
However - when it came to Sparra speak, we all turned to Michelle if we were uncertain. I remember a frantic phone call from Steve one day. He'd spent hours trying to find just the right way to phrase something in Sparra speak - then finally gave in and phoned Michelle.
And it makes sense that Michelle should be our expert there. After all - She is the only tiny ("five foot, half inch"), flying female we have on our writing team - so, who would understand Warbeak & co. better?
Martin: Which did you find more difficult: writing the original scenarios or adapting what Brian wrote?
Michelle: In a novel to screen adaptation, I try to remain conscious of the author's intention at all times. For me, turning Brian's chapters into scenes means a writer is on firmer ground with regards to the spirit of the book, as opposed to coming up with original scenarios to fit Redwall characters and overall history.
Glenn: Both presented their own unique problems. During the first season, we were trying as hard as possible to paraphrase Brian's words and protect his original intentions. Whenever we had to write something "original," our first thought was always to ensure that it stayed true to the spirit - and the tone - of Brian's work.
Quite frankly - the first season was a lot more nerve wracking because we were all feeling our way - and NONE of us wanted to accidentally offend Brian.
It may seem like a fairly obvious solution to change, as we did in the second and third seasons, from paraphrasing Brian to trying our hardest to lift material right out of the book - But, novels and screenplays are very different creatures and adapting in this manner frequently ends up taking more time than writing something original.
All TV, in some way or another, has to stick to a fixed format, and the Redwall series is no different.
We have to cram three acts into a little over 22 minutes - That includes opening & closing credits AND the tapestry sequences.
We have to have "cliff hangers" at the end of each act for those networks and countries that will include commercials. If we don't, viewers who aren't devout Redwall fans, start punching that remote, and if they find something else they'd rather watch - they're gone! If that happens too often, down go the ratings and there goes the show.
And, sometimes, things that work WONDERFULLY in a book just won't fit the tight constraints of Television.
Personally, I prefer adapting Brian's books for the simple reason that, over the years, I have written a lot of my own original material and I know how much it hurts to see your words changed around.
And, let's be clear here - Redwall, Mattimeo, Martin The Warrior and ALL the Redwall books were WRITTEN by Brian Jacques. Those are his wonderful characters. That's his witty dialogue.
Our job is to try and get as much of that wonderful material out of his books and onto the screen as the medium will allow.
Which is why I'm a lot happier now our credit reads "adaptation by ..."
For that is what we do.
Interview Copyright © 2002 rwtv.longpatrolclub.com
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Redwall and all related subjects is Copyright © 2001 by The Redwall Abbey Co. Ltd. All rights reserved.
