JAG News

NOTE: Question/Answer sessions with Kip are split between this page and the spoiler page. Some is just general info about the show, and some is considered "spoilage". As a general rule of thumb, after an ep airs, any comments by Kip are considered "news" (ie--how did they shoot that scene, who played "so-and-so", etc.). Unless it is something that relates to another episode, those sorts of things will be listed here. Be sure to check both places if you crave spoiler info. Kip and Harriet are insiders at JAG who post information and spoilers on the JAGniks list and the jag list at Yahoogroups. PLEASE read through these Q & A sessions (and those on the spoiler page) and make sure you are not repeating the same questions. Thank You!

By the way, unfortunately, it seems you can't pre-order issues, you can only order issues after the publication date. As for DV, their attitude seems to be that it's also available on newsstands throughout the U.S. (in case they don't have enough on hand). I did ask the advertising department of DV to order more copies for their Circulation Dept.; hope it works.

It was a glorious two days, with smiles to spare. On Monday, at the cake-cutting ceremony on the "JAG" set, celebrating our 200th episode, DPB posed with the cast and announced he hoped the series would be around until Mac and Harm's retirement from the service. Catherine recounted how she called Don and asked to be considered for the CBS series, after the NBC cancellation. "But I killed off your character," Don replied. "Not in America," Catherine persisted.

Lots more; I know, I should've taken notes, but I was having too much fun. And next day, at the Star ceremony, what memories that evoked, especially when Scott Bakula began to speak. He was, as I will always remember, both thoughtful and charming in his tribute to Don, and funny, too. He told the story of his 8-year old son watching a "Quantum Leap" marathon on TV. "Dad," he asked me, "did you ever meet God?" Scott embraced Don as he related his answer. "No, but I did work for him once." We joined them both in laughter, especially the "Leapers" in the audience, still loyal, displaying their home-made banners of welcome.

The casts and crews of "JAG" and "Navy NCIS" had to leave to return to their respective sets, but some of us were able to join Don and his family at a small luncheon afterward, at Wolfgang Puck's Brasserie in the Highland/Hollywood complex. I couldn't believe it when Rick Weaver greeted me warmly; I hadn't seen him since we worked together on "Magnum," like it was only yesterday. But,

Harriet:I'll send your eMail along to Post Production. But here's my take on your question, just a guess. I would think the Navy, or any branch of the military supplying stock footage, would not want to publicize security precautions that have been taken recently (for obvious reasons; you wouldn't want a potential enemy studying your fortifications).

By the way, although you didn't ask it, a frequent question is why we use made-up names for actual ships (such as renaming the USS John C. Stennis "The Patrick Henry"). This is at the request of the Navy, once again for security purposes. We do use the real names of ships no longer in commission, such as the Hornet, now a museum, and the Coral Sea, and so on.

Harriet:Of course, wouldn't you know there are two Naval ships named "Enterprise." The first, "the most decorated ship of the Second World War," is no longer with us. And the current "Enterprise," the world's first nuclear-powered aircraft carrier, has been called its "worthy successor."

Harriet:I think I've mentioned it before, but shows like "E Entertainment," "Extra!" and "Entertainment Tonight" consider their programs "news-driven," so their programs are put together at the last minute, and the time devoted to each segment depends on what news is breaking at the moment.

"Although there are two names on the "Created By" credit for the "Magnum, P.I." series, Mr. Bellisario has always received the most attention as "creator" due to the fact that his creative control and input on the show existed throughout its eight-year run.

"Conversely, Mr. Larson's involvement with "Magnum" has largely been due to the fact that he wrote a first draft of the pilot episode, but little else; despite the latter, he has always been accorded onscreen credit for his contribution and no one at Belisarius Productions has ever acknowledged anything different from the above facts.

"For these reasons, if the media gives more weight or attention to Mr. Bellisario, it is understandable but there has never been any attempt on our part to deny Mr. Larson the credit he has been entitled to by virtue of the Writers Guild of America's rules and regulations."

Harriet:Extras who appear as background (b.g. or "Atmosphere") in episodes, and do not have lines (speaking parts) are not listed on t he Cast List. Or the Call Sheet (unless it's someone who bid successfully for a charity walk-on). Extras are hired by the 2nd A.D. (assistant director), who usually calls Central Casting with requirements. (18 adults, 17 minors, for instance, in a High School Ext. scene filmed at Van Nuys High School, in "Crash," according to that day's Call Sheet.)

As you may remember, I was hired as an Extra in the "Father's Day" episode, for the "Quantum Leap" Convention scenes, along with other Leapers I managed to round up. As was DPB (I don't recall if he had any lines). Added to the mix were Extras from Central Casting.

Harriet:Same answer applies. Except in this case, only the director knows for sure. And he's busy. Actually, we're currently filming "Fighting Words" by Matt Witten, directed by Jeannot Szwarc (an old friend from Universal).

Harriet:Well, here's another fine mess. I did what I always do when asked a question: I went to the source. This time, my source at CBS said there's nothing to be done except: Tough it out, and find a friend. It's the old Chinese curse: May you live in interesting times.

Harriet:Hi, everyone. Our 200th episode will begin filming February 24, instead of the scheduled Feb. 11 date, to allow more time for some special events marking the occasion, which I'll post as they occur. (I imagine the airdate will change, so put down April 2nd tentatively).

Harriet:Mr. Bellisario doesn't have "to get out" of anything; he's the ten thousand pound gorilla. (Just kidding, Don). (For those who don't remember that old chestnut, it goes like this: Where does a ten thousand pound gorilla sleep? Answer: Anywhere he wants to.) Da da bump. Glad you enjoy the show.

Harriet:Thanks; I think our eMails crossed. Actually, a vendor was at the studio today, with wonderful African art for sale and I couldn't resist browsing and buying. I think I was inspired by the "Today" show, because I bought a marvelous woven basket, and a lovely carved bowl with giraffe. So much talent in the world.

Fans of "Quantum Leap" will recognize the phrase above; for others, whenever Sam leaped back in time, DPB tried to incorporate something historic that happened during the same period (the break-in at the Watergate, for instance). Sure could've used the Internet then; for someone who just asked about the Twinkie defense, it refers to the tragic murder of the Mayor of San Francisco by a Supervisor who had just lost his job, and you can find the details...on the Internet.

But I digress (of course). A former Army JAG lawyer eMailed his interest in visiting us because he enjoyed the program so much, and when he mentioned he was one of the defense lawyers for Lt. Calley during the My Lai massacre trial (look it up...on the Internet), we were just as interested in meeting him.

The scene at the set ("Hard Time," by Dana Coen, directed by Bradford May) was a trial, and the courtroom received a thumbs up from our guest, who also told us he thinks the series is well-written. Nothing like approval from someone who's been there, done that.

The Radio and Television Service of the United Nations would like to request a copy of the episode of "JAG," which was aired last Friday, 6 February 2004, on CBS. More specifically, the story focused on t he trial of the US Secretary of the Navy by the International Criminal Court. We feel that it was a remarkable episode in which the ICC was depicted as a rational body in which an American could expect a fair trial.

Harriet:I believe that most people who watch the above programs think of them as purely "entertainment" vehicles. Actually, their emphasis is on entertainers who make news. That's one reason it's difficult to pinpoint when a film clip will air; if there's a lot of hard news that day (a divorce, a separation, a lawsuit, etc.), the film clip is moved to make room for a breaking story.

I'm sure our publicists "pitch" lots of angles, but ultimately it's up to the producers of those shows to make the final decision of what airs and what doesn't. When I was a publicist and "pitched" stories to magazines, for instance, the writer always asked "What's the angle?" And when I was a reporter and publicists pitched me, I asked the same question. You have a finite space to fill, and there's lots of competion for that limited amount.

Question:...until the 24th of Feb., and the post tonight says it is schedule to air on the 12th of March. If I am looking at the calendar right doesn't that mean that there is only about a week between wrapping the episode and the airdate?

Harriet:Actually, we start filming here on Monday, the 23, and we will be able to air Mar. 12 due to a lot of people working long hours to make it happen. Something special will mark the occasion and I'm waiting until everything is finalized before posting it next week.

I know you'll join me in congratulating Donald P. Bellisario on the occasion of his being honored with a "Star" on the Hollywood Walk of Fame. The ceremony will take place on Tuesday, March 2nd at 11:30 a.m. at 7080 Hollywood Blvd. near LaBrea.

Copies of the issue can be ordered on date of publication, March 2, and after, by calling 323-525-2087 and asking for the Library Department. The cost is $6.95 each, which includes postage. You may pay by check; an order of five or more copies may be charged to a credit card.

HOLLYWOOD, CA - Donald P. Bellisario, creator and executive producer of such television successes as "Magnum, P.I.," "Quantum Leap" and "JAG" will be honored with the 2,248th star on the Hollywood Walk of Fame. The star will be unveiled on Tuesday, March 2nd at 11:30 a.m. at 7080 Hollywood Boulevard near La Brea.

Johnny Grant, honorary mayor of Hollywood and chairman of the Walk of Fame Committee, will preside over the event and Leron Gubler, president/CEO of the Hollywood Chamber of Commerce, will speak on behalf of the organization. The casts of both of Bellisario's current series, "JAG" and "Navy NCIS," will be in attendance, including David James Elliott, Catherine Bell, Mark Harmon, Sasha Alexander and Michael Weatherly.

A prolific writer, Don Bellisario has been crafting entertainment stories for a variety of audiences for more than 30 years. His work on "Magnum, P.I." established the program as one of the seminal series of the 1980's and garnered the show a place in the Smithsonian Institution as the first ever to dramatize a positive portrayal of returning Vietnam veterans. In fact, beginning with "Magnum, P.I." and continuing with Bellisario's current series "JAG," he has always had as, a hallmark of his work, a great concern for the MIA and their families. Bellisario's groundbreaking approach on "Quantum Leap," the series that combined innovative and humanistic storytelling within a unique "time travel" format, garnered twenty-six (26) Emmy Award nominations and six (6) Emmy Awards. Bellisario's career had a meteoric rise, beginning as a story editor in 1976 on "Baa Baa Black Sheep" and becoming a producer of that series after only five episodes. He followed that assignment with a Supervising Producer/Writer title on "Battlestar Galactica" and, in short order, began developing and creating his own series.

Bellisario's series' have earned over 50 Emmy nominations and numerous Awards, including three Outstanding Drama Series awards for "Magnum, P.I.' and People's Choice Awards for Tom Selleck, Scott Bakula, John Hillerman and Dean Stockwell. In addition, Don has received the Edgar Allan Poe writing award for " Magnum, P.I.'' a Writers Guild of America nomination for "The Leap Home" episode of "Quantum Leap"' a Producer of the Year Award from the Caucus of Producers, Writers and Directors and the Spirit Award from the American Red Cross, among many others. On March 10th he is due to receive yet another honor, the American Legion's 2004 National Commander's Public Relations Award for distinguished public service that contributes to the preservation of the American way of life.

Using a wide variety of formats and subject matter, Mr. Bellisario has produced well over six hundred (600) hours of television. His other "Created By" credits include "Tales of the Gold Monkey" with Stephen Collins and Roddy McDowall; "Airwolf" with Jan-Michael Vincent and Ernest Borgnine; "Tequila and Bonetti" with Jack Scalia and Mariska Hargitay and "First Monday," with Joe Mantegna, James Garner and Charles Durning. In addition to his other pilot and Movie-of-the-Week productions, he also wrote, produced and directed the 1988 feature film "Last Rites," starring Tom Berenger.

His one-hour dramatic adventures series "JAG," which he created and produces in association with Paramount Network Television, celebrates its 200th episode on Friday, March 12, 2004 at 9 ET/PT on CBS. This season, Bellisario launched another one-hour drama for CBS called "Navy NCIS." The dramatic series stars Mark Harmon as a special agent in the NCIS, an actual unit of the military, whose mission is to investigate any crime connected to Navy and Marine Corps personnel.

Harriet:It's a short course. "JAG" and "NAVY NCIS" are episodic series; that is, unless there is a "story arc" (or a "Part One" or a "To be continued" on the screen) each episode stands alone. As opposed to daytime series, for instance, where what happened the day before is recapped and carried on to the next moment in time the next day.

As many have noted on this list, there is a time lapse between episodes, sometimes between scenes, on "JAG." That's because "JAG" is story-driven (as in 'that's an interesting story, and it's topical, so let's adapt it to our series now and pick up those other threads later on') rather than let's say "Friends" or "Everyone Loves Raymond" (as in that's a funny situation, let's adapt it to our characters, ergo Sitcom).

"Seinfeld" (my favorite, okay I'm a New Yorker, I'm allowed) was a show about "nothing," as they kept saying. Just the same set of characters obsessing about themselves. Very little story, but a lot of over-the-top reaction with each other.

Question:So, my question is this: where does the network, or local affiliate, get off chopping into a first-run prime time episode, and how do we know what else has been removed from other first-run episodes? I know that USA Network edits out pieces, but this amazes me that what

Stations which broadcast using the public airwaves, limited in number, are licensed, every three years, by the FCC. (Networks are not licensed; but the stations they own are as well as their affiliates.) The license renewal is dependent upon the station providing a variety of public services to their local community. If there is breaking news, stations interrupt their scheduled programming to so advise their listeners (example: the beginning of an "NCIS" episode was preempted in November to discuss the probable outcome of the California governor's recall vote. Whether this happened anywhere outside California, I don't know. After the announcement, "NCIS" was telecast, but the opening scenes were not. The show just picked up where it would have been at the time, since I assume the network feed was running somewhere in the b.g. We kind of felt this announcement could've waited, especially since the polls had just closed. But the idea of telling off the people who hold your economic future in their hands, I don't think so.)

Stations are formatted and programming is edited by the production to fit that format. Episodic tv series have 43 minutes of airtime, with appropriate act breaks. Unless there was breaking news at the time, hard to imagine how a scene could be "dropped," as you put it, especially if it was in the middle of an act. Or even at the end of an act, unless something else took its place. Otherwise, black screen.

Cable stations, such as USA, do not use the public airwaves; they use underground wire (cable), and are less restricted. Cable stations are licensed by the community, as opposed to the Federal government. These stations have their own format and obviously can telecast more commercials. Since "JAG" is formatted for CBS originally, the episodes have to be re-edited for syndication on USA. This is done by the Paramount TV editorial department, not by the production, obviously busy doing original programming, and not by USA, obviously not able to recut every series they purchase. (Original programming intended for cable stations is edited for that station's format from the beginning.)

Harriet:Dana Coen wrote "Shifting Sands," which will be repeated on January 2nd. He also wrote "Close Quarters," which aired in November. He is a co-Exec. Producer of "JAG," and very much involved as a member of our writing staff.

Harriet:The Script Supervisor, who sits on the set beside the Director, with the script in front of her and a stopwatch in hand. Among other things, she cues the actors if they've forgotten their lines, reads voice-overs which will be looped and dubbed into the episode in post-production. (Log onto Script Supervisors Job for a more detailed description of responsibilities).

During the "Kojak" series, I visited the set one day, and watched a scene from an episode I had typed. I knew the script, I knew the scene, and I knew that the dialogue was wrong. Every eye was intently focused on the actors, as they read their lines, rehearsing the scene once, twice...I was so nervous, I was sweating. Do I jump up and point out the error, what do I do? Fortunately, there was a momentary break, and I walked over to the Director and the Script Supervisor and pointed to the line in the script. It was an easy error to make, using the wrong pronoun, and it could've been corrected in post. But it was long time before I visited the set again ---

During my first job with DPB on his series, "Tales of the Gold Monkey," (a little trivia: the title was supposed to be "Tales of the Brass Monkey" but there was a drink called that and the title didn't pass Legal Clearance), he received a letter pointing out a minor discrepancy in one of the episodes (sound

A Director standing nearby overheard him, and told of a letter he had received, complaining that one of the actors in his episode had boarded a helicopter wearing a plaid shirt and was shown deplaning minutes later wearing a white shirt. He answered back telling the viewer he was absolutely right, and that they had fired the Tech Advisor. You could feel the viewer's anguish as he wrote back asking that nobody be fired on his account, and furthermore, he vowed never to find fault again.

While it's tempting to use that response, it's not only untrue but a little mean-spirited. Much better to acknowledge the writer with a thank you for their interest and support, which I use to this very day. If we could go back and do it again, now that's another story. Actually, mistakes are noticed in Dailies, but unless it's something egregious, there isn't enough money or time to reshoot it.

As DPB once said in answer to a complaint: If you noticed that, we must be doing something wrong. And at a time when we used to watch Dailies on a big screen in a Projection Room, as I once mumbled to a miffed DPB: Never notice it on my small screen at home.

Yay, a new episode on Friday: "A Merry Little Christmas." Let's hope there aren't too many mistakes, but if you notice any, be kind. Otherwise, we'd have to fire the Tech Advisor, and you wouldn't want us to do that, would you?

Harriet:I'm reminded of the time I told a friend, "I'll make it short," and was answered by, "Harriet, you don't know any short stories." Since then, I've really tried, but something always gets lost when you keep it short.

Now, for your question. In the first instance, the Director wrote that the Tech Advisor had been fired for the mistake the viewer noted. He could've easily identified anyone else on the crew, but thought "Tech Advisor" most appropriate. Of course, nobody was fired, and more importantly, there probably wasn't even a Technical Advisor on the show; he simply wanted to placate the letter-writer and was surprised at the contrite response.

It stands to reason that "E.R." has medical Tech Advisors (oops, wrong scalpel), "The West Wing" for sure has Beltway advisors, "Star Trek" for sure doesn't, I wouldn't think, but maybe a NASA consultant or two, could be. "Quantum Leap"? I don't remember, but I do recall one of the first reviews: "DPB," it read, "has broken the rules of time travel." Anyone know what they are; we sure didn't.

"Kojak" had a Tech Advisor; a former member of the NYPD vice squad. Of course, if the advice interfered with the plot point, need I say more? (It's very difficult to convince a writer that it's more important to be absolutely correct rather than tell an interesting story.)

Harriet:Thank you; I'll be sure to forward them to Paul. Those who attended this year's Fan Fest will remember how generous he was with his time by attending and addressing the Convention on his expertise as the Location Manager for "JAG."

Harriet:According to the Call Sheet, the USO Show scenes were filmed at Blue Cloud Ranch in Saugus, California. The shooting call was 5p.m., with the notation "Prepare for cold temps!" (It was filmed on Nov. 19 by Second Unit, which means that First Unit was filming somewhere else; I see by my Director's Schedule that "A Girl's Best Friend" started on the same day.) The call sheet indicated a "call" for 200 Atmosphere to be part of the Military background. Also filmed at that location, "Ext. Chapel - Snow: Mac talks to Mattie's father." A busy day for director Bradford May...and the caterer.

Actually, I was talking to my niece (Julianna's mom) up North, when she said, "I think we're having an earthquake!" As my desk began to shake, I replied, "We're having one here, too!" Of course, it was the same 6.5 that rolled from San Francisco to L.A. That's quite a large area to be affected. I hope there wasn't much damage or injury...and then there are the aftershocks. On a much more pleasant note:

The lunch was wonderful, as always. Our caterers, who feed the cast and crew daily, outdid themselves with their extravagant buffet of varied entrees and tempting desserts presented in a festive setting. And the gifts from Don Bellisario and the producers and cast were equally extravagant: a blue and white

"People vs Secnav" was filming, but Dean Stockwell wasn't on call that day; in fact, when we arrived at the set, DJE, Catherine and Zoe were the only cast members there, trying to get a last scene in before the set wrapped until next year. (Lunch wasn't until 4:00, as there was a late crew call).

We exchanged greetings briefly, and, of course, most of our conversation had to do with the new babies in each household. I shared my photos of Julianna, and Catherine brought up adorable ones of Gemma on her computer screen. I told Zoe I was sorry to have missed Karri, who was on the other side of the world

I did talk to Steve Bramson, and told him how much everyone enjoyed his song, "Christmas All Year Long." He's hoping to get it included in a Christmas album next year. No "JAG" music CD in the near future, which is a disappointment, I know.

It was at 1:00 p.m., and the cast and crew had to return to work, so it lasted about an hour. Before then, we had received a present from the cast, Mark, David, Sasha, Michael and Pauley: a beautiful crew jacket with insignia, and a lovely card of thanks "for all your hard work." I watched a little filming before the break, and managed to see Mark and Sasha, and convey my "thanks."

My favorite story refers to the time I was Don's assistant and made his travel arrangements, which I did the same way I would for myself. It was during the time everyone, including me, seemed to be going to Europe. (Matter of fact, by chance I was in Paris at the same time, same hotel, as Chas. Johnson and

But I digress (true JAGnik). I called each hotel and spoke to the desk clerk where DPB would be staying, and mentioned he created "Magnum" (big sign of recognition in return, as expected), and asked he and his party be given every consideration, etc. When Don returned from Venice, he told me (with a little awe) that when he checked in, the desk clerk said, "Give my regards to Harriet." (No wonder he named that beautiful character after me: I was goood.)

The lunch was equally as good as the previous "JAG" and the menu a little bit different, but just as tasty. Mark "worked" the room, stopping to say a few words to everyone. (He joked about the jacket, and eBay. Come to think of it, DJE mentioned it, too, when we were talking about -- who else, Don. I said I always asked DPB to sign his pilot scripts, "for my annuity." And that was before eBay. David said "Matt Sigloch does the same thing with me!")

I sat and talked with propmaster George Tuers (and reminisced about "you know who"). Then I asked a question I never do get quite right: what's the difference between a prop and set dressing? Well, it seems that if an actor can pick it up and walk with it, it's a prop. For instance, a picture on a desk that just sits there, is part of set dressing. If the actor picks up the picture and walks away with it, or refers to it, it's a prop.

I had taken almost a roll of photos of the lovely Julianna, and was going to have it developed, but there was one or two still left to be taken (you know how that is), so I had it in my purse. Talk about serendipity: I asked Mark to pose with me, and the Director said he'd take the photo. Mark reminds me of Scott Bakula; they both "hug" tightly.

The production team considers the story, and if it "works," the writer then goes to script. If the story doesn't pan out (for any number of reasons), the writer is paid for Story only, and the story is "Abandoned." It's not dead, just filed away, perhaps to be rethought at a later date.

Someone asked about "joining" the WGA. The Guild is like any other Union (the difference being Guilds don't keep a roster, or find members jobs; basically, they mainly set payment minimums, arbitrate writing credits, oversee pension and health and welfare benefits, collect residuals, and dues, of course).

All major studios have contracts with the WGA; anyone hired to write for a major studio has to be or eventually become a member of the WGA. (Requirements have changed since I had to join, so you'll have to find that info elsewhere, perhaps on their website). I see by the Trades that their contract is up in May and negotiations with the Producers are underway. You can find out more by logging onto WGA.org. Let's hope they find common ground.

Finally, you do not have to be a WGA member to pitch a story idea, but you do have to be represented by a recognized literary agent as the legal department of Paramount Studios (and every studio as far as I know) does not allow its employees to read unsolicited story material. The WGA has a list of agents who will read material by first-time writers.

Since TV series are only given about 23 episodes per season, and since series already have a number of writers on staff, and are only required by the WGA to hire one or two freelance writers per season, it's a very, very narrow field indeed.

But I did it, so I'm loathe to discourage anyone. As Kojak used to say, "Find someone who loves ya, baby." In other words, if you want to work in the entertainment industry, find a job, any job, and then follow his advice: find someone who believes in you.

Harriet:Props is the department overseeing the food needed to be included in a filmed sequence. If it's a simple meal, craft services can prepare it, depends on what's called for. If it's a buffet, a food stylist will arrange the tables, but it's still overseen by the Prop Department.

Harriet:I was just informed that it wasn't the same set, as Mac's apartment wasn't available, but it was similar. And, as noted, we do use the same...stages...and Mac's set would have been modified, and not exactly the same, if it were used.

By the way, in answer to the bloopers query, when a Blooper Program inquires about using a clip for their show, the request is made to Post Production, and I just ran into Avery Drewe and asked him to let me know the next time such a request is received.

And, to make it an all-inclusive eMail, I had lunch with those in charge of Paramount Licensing, and in addition to what is now being licensed to the public (via CBS.com), we talked about a Poster, a Calendar, trading cards, a "JAG" cap (if possible) oh, and action figures. And buttons and photos. So, we'll see what happens. (They have nothing to do with DVDs, that's Paramount Home Entertainment).

Harriet:Actually, that shot was filmed 4 miles from Santa Clarita, Ca., where our indoor sets are located. (How did she remember that? Well, I didn't, I just went to the Call Sheet for that day. The location was Rye Canyon, and they have a website. Aside from me, who doesn't?)

As for Falls Church, their Chamber of Commerce did call once asking where "JAG" headquarters was located, as a lot of visitors came by looking for that building. I told them it was actually the Red Cross Building in Pasadena. And they, too, have a website, as who doesn't....etc.

Question: I think the Mattie arc allows us to see something in Harm that we only glance at, once a season or two--a caring, giving man who has lost his way on occasion, but never when it really counts (and I know some of you will disagree with that), and always sees children (whether 7 or 15) as something precious.

And I, who try not to comment on storylines, have to put in a word or two on this one, because of...you guessed it, Julianna. I've just had the Thanksgiving photos developed, and there's one of the Princess reaching up toward Daddy, the six-foot plus surfer (my brother's son), whose arms enfold her

I'm also remembering a past Christmas cast and crew party at an arcade, and DJE walking hand-in-hand with daughter Stephanie. And this year, when we spoke at the set about the two new little ones in our lives, David made sure to include her in the conversation, even though she wasn't present. That, too, is a protective gesture, and I also imagine he's thinking of Stephanie's future as he copes with a make-believe teen-ager.

Lastly, this story arc reinforces my memory of how I came to be here. When CBS picked up "JAG" after NBC cancelled the series, they asked for less "Top Gun" and more personal stories. And that begat Harriet Sims and the rest, as they say, is history. (Yes, Virginia, life, too, can be a soap opera, but so what?)

Harriet:"JAG" has consistently won its timeslot, and generally has been the #1 show of the evening, or has tied for first place as it did a week ago. And yes, it was the network's idea to move the show to Friday night, to help CBS with its flagging lineup and it worked for them. The numbers, I believe, reflect the

(Today's scenes were filmed on the back lot of Paramount; so close to Sunset Gower, I had to stop by and say "hello." The first to greet me was Paul Brinkman, Jr., our Location Manager. He asked me to thank you for the condolences you sent upon the death of his mother, Jeanne Crain. He told me again how much he enjoyed the last Fan Fest, where he was the Guest Speaker.

It was a beautiful, balmy day, and Paul saw to it that we had great seats to watch Catherine Bell and Jameson Parker enact a scene simulating EXT. GEORGETOWN RESIDENTIAL STREET. Look for an Extra strolling by with a huge, handsome dog if it makes the final cut. Those who actually live in Georgetown, please refrain from commenting at all. And try to keep warm.)

Enjoy "JAG" tonight, a rerun of "The One That Got Away." Next week, an original episode, "People V Secnav." By the way, thanks for supporting reruns; they allow time out for our cast, staff and crew to spend prior holidays with their families.

Harriet: Networks make a lot of rescheduling decisions, especially during the Holiday Season, for their own reasons, and also because they have Specials they are committed to air. (While networks are not licensed, their stations and affiliates are, and part of that license agreement is to serve the public, and I imagine Holiday programming is part of it, in addition to Public Service Announcements.)

Harriet: David James Elliott was this year's recipient of the "Audie Murphy Theatrical Award for Television" presented to him at the American Veteran Awards dinner held Friday night, November 21, at the Regent Beverly Wilshire Hotel in Beverly Hills.

Harriet: All productions I've worked on have what is known as a Director's Schedule. It lists all the episodes to be filmed that season, including episode number, episode title and writers, the name of the director, the prep dates, the shoot dates, and the air dates. It is constantly being updated and changed. It is an internal document, not meant for wide distribution, mostly because it contains tentative information. (The one I have is dated Nov. 10, so it's already obsolete.)

The only information that rarely changes are the prep dates, the shoot dates and the name of the Director. If the Directors haven't been signed yet, they are listed as TBD. I think it is referred to as the Director's Schedule because: The directors who are not part of the production work on other series as well. Therefore, in order to make sure you have the directors you want, they are contracted for before or very early in the season. In other words, before their dance cards are full.

Question:Are the wildfire disaster effecting the shooting of JAG episodes? And much more importantly is everyone safe and sound? My heart goes out to everyone who has lost their loved ones, and their property due to the fires.

Harriet:One of the fires can be seen from our sets in Valencia, so there will not be any filming outdoors in that area. I do hope that none of our coworkers have been personally affected, and thank you for your concern; it's much appreciated.

Harriet:Actually, he was interviewed by "Entertainment Weekly" and was quoted as saying he wished to see "JAG" bar mitzvahed (13 seasons, that is). "JAG" is the top-rated entertainment (as opposed to news and sports events) show of Friday evening, so CBS is happy, and so are we. Thaks for the support; couldn't do it without our loyal fan base.

Question:Is it intentional or unintentional that TPTB/writers have created an imbalance between the way Harm and Mac's characters are written? Harriet, do you have any insight? Also, are we going to see any of Mac's interests outside of work this season? It would be nice for a change.

Harriet:Not about future episodes, since I don't read scripts or spoilers. As for last season, even though it's pretty difficult to give an expectant mother much of a personal life...onscreen, that is, Mac did have an exceptionally busy love/work life (wouldn't you say) before Ms Bell left to await the birth of the beautiful Gemma.

Kip: For us it was great! Without it we wouldn't have had a show on last night. Early ratings indicate our 'JAG re-run' pulled a 13 share, making it second only to baseball. Using it instead of a new NCIS episode will enable us to make our (still tight but not impossible) post production schedules. NCIS will now run new episodes for five of the next six weeks which includes sweeps. (CBS has a special on 11/11.)

Scripts are written to about 65 pages. Some run as high as 70. We usually estimate 45 seconds to a page. But this is only a general average. An old gaffer once told me long ago the most time consuming like in a script he ever worked on was "Sonia Henie skates". Three months later they finished filming that line.

The JAGFanFest Planning Committee for The U.S.Marine Corps Clock; Katherine Devlin & Kathy Arnold, for the Marine Corps paperweight; Nancy Pratt, framed photo of the Blue Angels flight; Kit Malloy, the Land, Sea and Air statue; The Staff at "Totally Steven," gift package; "The Military Women of JAG" booth, for the "Hero" bear; Dottie Beck, "Songs of the U.S. Navy"; Kat Bonson, framed scenic Nature photo.

No subject generates more passion among TV viewers than passion. People love their favorite characters so much, they're desperate for them to fall for each other. The sooner, the better. But not so fast. Consider those combustible JAG heroes, Harm and Mac. In the season opener, they survived a South American adventure during which they shared a bed - platonically - heightening the sexual tango they've danced for seven seasons. When the mission was over, Mac finally confronted the issue.

Other would-be couplings that are the stuff of fan fantasy: Lorelai and Luke on Gilmore Girls, Donna and Josh on The West Wing, Sydney and ex-flame Vaughn on Alias, Clark and Lana on Smallville. As lovelorn Chloe warned Lana, "Pining over Clark only leads to personal misery."

Harriet:Hi, everyone. This is a catch-all eMail, to advise that "JAG" merchandise has been licensed and is available for sale on the CBS.com website (CBS Store), and that Press Kits as we knew them in the past are no longer being printed and circulated.

The Internet Age has made Press Kit mailings to journalists obsolete; it is much less expensive (the bottom line in today's economy) and more timely to post this information on the CBS.com and Paramount.com websites for both the press and the public.

In the past, I had copied the info (production notes, bios, etc.) from Paramount's press kits and enclosed same, together with presigned cast photos, upon request. Now, you can log onto those two official websites for current season information for both "JAG" and "Navy NCIS."

If you have a website, it would be helpful if you posted this information, together with the fact that, at present, I do not have 9th Season Presigned Cast photos for "JAG" or the same for "Navy NCIS" and will announce it when I do. (It's not possible for me to keep a list of requests prior to the arrival of the photos.)

This explanation is coming to you from a musically challenged person, although I did work as a publicist for a number of record labels. (Isn't there a commercial like that, "No, I'm not a doctor, but I did stay at a...certain hotel...last night.")

Dottie Beck (whom I accidentally blocked along with all those sex eMails, I'm working on it, today for sure) Great photo of DPB, posing with five stud muffins I've been lucky to work with through the years: DJE, Stephen Collins, Jack Scalia, Scott Bakula and Tom Selleck.

That explains why there are reruns during certain periods of the year. (In the can is an expression that really means "ready to air." Since post-production also goes on holiday, episodes may be on film, but not yet edilted, scored, etc. before they return. Which also explains why there are reruns, etc....)

Harriet: I read the same article. DPB said three things: he hopes "JAG" goes for thirteen years; he has no immediate plans to put Mac and Harm together and, finally, if they do go their separate ways at series end, the shippers will be upset.

If he didn't care about the audience, he wouldn't have hired me. He wouldn't have donated set visits for charity auction at the Fan Fest, to both "JAG" and "Navy NCIS." He wouldn't have approved 200 fans trooping through both sets last Saturday before either show premiered the following week.

Harriet: If I'm advised in advance, I do share the information with the list (such as the photo shoot for the upcoming TV Guide issue of returning shows.) Interviews for tv shows such as "ET" and "Extra" are filmed, and sometimes airing is delayed, depending on what else is happening in the entertainment world. If there's a hard news story breaking, that takes precedence over an interview. And all interview shows have websites with a list of guests.

Harriet: The problem with reading something that was spoken is that the inflection of voice and emphasis cannot be relayed. If the interviewer is really interested in conveying the spirit of what was said (I used to do a lot of interviews myself), there would be the added notation (he said, with a smile, or if a phoned interview, which this apparently was, he said jokingly.)

I think we both learned together that you can't please everyone, but at least I think we've managed to please a good deal of the people most of the time. Something must account for our longevity, and I think that's it. Of course, we're also very cute. (Can you tell if that's (a) irony, or (b) if I'm smiling, or perhaps (c) I mean that to be taken literally.)

I was Don's assistant while he agonized over how to end "Quantum Leap" (we had already been cancelled as we worked on our last episode, talk about trauma). Just before filming began, he read these words to me from his computer: And he never returned home. (Great, I thought, Sam would keep Leaping until we Leaped into a movie!) But, he added, I'm reuniting Beth and Al, because the fans would like that.

DPB didn't know, until that moment, how the series would end. I'm sure that goes for "JAG" too. As Dean Stockwell said, as he blew out the candles on his birthday cake on the last day of filming "QL," "You know what I wished for? Just one more year."

"The 'JAG' fans are pissed that their show got moved for the spin-off, and they seem like the type to stay away from the new show out of protest -- at least until CBS swaps the timeslots for 'Navy NCIS' and 'JAG.'" Alan Sepinwall of the Newark Star-Ledger. (Zap2it.com--posted to the JAG List by Marilyn)

Matt: I wouldn't hold your breath for these two to "get together." Like the earlier discussion of CSI, while there is certainly some chemistry between these two characters, the show isn't about that and would probably suffer if they acted on the sexual-tension subtext too overtly. I also don't think the move to Friday will be fatal to JAG. Just the opposite. If JAG improves CBS's fortunes on Fridays the way I expect it will, the show will probably live there for as long as it wants to. In my opinion, the time to know the show is on its way out is when Mac and Harm do finally "get together." That will be an indication the producers have nowhere more to go with it." (From TVGuide--posted to the JAG List by Scotty)

Question: Kip I have a question about the order in which episodes are made as compares to the order in which they are shown. USA is showing season 2 now and its obvious that Secrets was made sometime after We the People and Game of Go was made early in the year but was shown late. How do you decide the order in which episodes are put on the air?

Question:I'm not sure that's what the poster was asking, Kip. I believe the question was when they were aired on CBS, not USA. Whether they are filmed and shown in order, or if sometimes they are rearranged and shown not in filming order for various reasons, and how that decision might be made.

Question:I just watched "Heroes," and realized that one of the things that makes the earlier episodes especially good is the absence of B and C storylines. It was all "A" story, and it held the attention. Sets changed, Bud and AJ participated, but it was all about the main plot. Yes, use different characters. Yes, use different sets. Interject humor - it can be done as part of the main plot, although that's probably harder than writing a separate skit. But 42 minutes is little enough to show one good drama, let alone three! I know, one voice crying in the wilderness. . . .

Question:Correct me if I'm wrong but I believe you said once that the cast of JAG doesn't do table readings of the scripts. My question is, how much time do you spend on rehearsal for a given script? And why did you choose not to do table readings like some other shows do? Just curious.

Table readings in television are done on sitcoms, not dramas. Sitcoms tape a half-hour episode in one day. So, they do a table readings, rewrites, etc. before taping. Drama people often joke about how civilized it is to do sit-coms.

Dramas don't have the time to table readings or the inclination. The regular actors would throw a fit. Although the crew would like the day off...which brings up another thought. A day for a table reading would be a day out of production. 24 days out of the year would be either 3 less episodes or working a month longer with all the costs attached to that.

Kip:It is very difficult to mix music and effects for TV especially CBS whose affiliates and even O and Os seem to be the weakest at reproducing sound and picture. The worst is the CBS station in LA where we send our post people to every broadcast to fight for better picture and sound. It's a losing battle.

Question:The scene where Mac walks out on harm in 'A Tangled Webb' (or Pas de Deaux) comes to mind. Right when shes walking out the door, if you watch Harm's jaw, (hes facing away from the camera) he says something to her. She turns back briefly and just looks at him, before walking out. This look is what made me think there was something more to that scene, and then I watched Harm and he is clearly saying something, but you cant hear what it is. Unfortunately this was a tape, so I couldnt put the CC on. Also, does anyone know what he did say?

Kip:I answered this once. Short version...he's saying whatever he said before or after Mac's line. Mac's reaction was on top of Harm's line. So we double cut to make it more effective. There was not a good reaction to cut to on Mac, except when Harm was talking. This happens all the time and you can find examples of it in nearly every episode. We try not to have the person talking when we cut over their shoulder but sometimes it can't be helped if we want to make a moment in the scene that the actor's didn't.

Kip: I have no idea how often he will recur on Enterprise or JAG this season. Should a scheduling conflict arise where he is booked on both shows at the same time, I'm sure our production companies will strive to work it out.

Kip: How many shows do you know on television that are in their 9th season? Obviously this web site which is basically shippers doesn't agree with what DPB has done, but just as obviously he knows what he's doing. A lot of series would like to hurt the way we've hurt JAG.

Kip: Good point. The original opinion had nothing to do with shippers or shipperness. I am so used to comments disagreeing with the creative choices DPB makes on JAG to come from Shippers that I assumed this was another. Bad assumption. Logic 101. Sorry.

Kip: Sorry. They are not solely based on artistic merit. Let's not even discuss writing, directing or acting. Let's just look at production values. JAG production is as good or better than any of the nominees in drama and all we get is a single music nomination?

Question: How about this: He (Gunny) has already worked with Webb in Afghanistan and South America so he retires from the Marines and joins the CIA. From there he can have a roll on NCIS similar to Webb's on JAG. Without the black tie or his mother though.

Kip: NCIS is not another JAG. We have no need for a role similar to Webb's. If DPB were to put Gunny on NCIS, since he had been a civilian law enforcement officer and an MP in the Corps at one time, Gunny would most likely join as a Special Agent. THIS IS NOT A SPOILER. DPB has no plans to do this. I'm just saying how he would most likely be used if he did.

Kip: Everyone on the show selects and submits the episode they believe to be outstanding in their Emmy category. For the show, I believe he submitted the season opener or the Christmas show...I don't recall which he went with. .

Question: Do you know if DPB plans to make a cameo appearance on NCIS like he did in "To Russia With Love"? And awhile ago, you mentioned that many of the crew members were hoping to make the jump to NCIS. Will you still be working on JAG this season, or will you switch to NCIS?

Kip: 99.9% of all hidden meanings that I have read over the years from fan discussions on this list are the result of 'over-think' driven by fan bias, wishes and fears. I'd say 100% but maybe there is something in the past I missed.

Question: Hello Kip, I'm wondering. Since you have said that DPB doesn't accept scripts from outside sources, and sends them back unread etc. How does one go about becoming a writer on one of DPB's shows? Does DPB put the word out or an ad in the paper etc. when he needs writers?

Kip: New writers come from agency submissions. For example, when NCIS was scheduled, dozens of agents phoned to ask what level writers were needed, etc. Probably 50 to 70 scripts were submitted along with resumes. From these, writers are selected. Some of these will become NCIS regulars, some will fall by the wayside.

Question: In today's Chicago Tribune, there is an article in the Arts section quoting DPB as saying that this season, NCIS will investigate a crime one week and the next week the person they decide committed said crime will show up on JAG to be tried. Since this was the first I'd heard of this type scenario, I am wondering how much truth is in the statement. Is that how the shows will work in 2003-4?

Question: Second question--while I've always liked Tiner, I couldn't help but notice that in an episode in the fall of 2000, he tells Gunny that he's finishing up his bachelor's degree. Now he goes and graduates from law school in the spring of 2003. Since law school itself takes 3 years if you go full time, how did Tiner manage to finish his undergraduate work and 3 years of law school in a mere 3 years?

Question: I might not watch NCIS but would hate to miss the 'original' of a case from this show, where the conclusion is going to be shown on JAG. When such an episode airs, will the viewer of JAG be given a synopsis at the beginning of the episode about what happened in the previous episode of NCIS?

Kip: Let's see if I can make this crystal clear to everyone. IF we decide to do a case on NCIS and then a trial on JAG it will probably happen only a couple of times in a season. Each show will be a stand alone, meaning you don't have to see one to enjoy the other. We might even reverse it...do a story on JAG and have the same characters in NCIS next. Again, each episode will stand alone. Also, I said Scott will be in a NCIS episode...NOT that he will be in repeated NCIS episodes. He was supposed to be in the second show, but that script wasn't accepted by DPB and is back to the drawing boards.

Harriet: Just called our Production Department, to speak to our Location Manager, Paul Brinkman, who, apparently, is out on a scout (we're in prep for filming "A Tangled Webb, Part Two," principal photography scheduled to start July 17). Spoke to Paul A. Pedevilla, Assistant Location Manager, who told me he belongs to the Teamsters Union (which I didn't know because I never thought about it -- but it makes perfect sense since they work so closely with our Transportation Dept. drivers.) Paul also volunteered that he started as a set p.a.

The question of how to get a job in film production can be answered this way: start anywhere, be helpful and likable and network. Or, as I often suggest, take the Directors Guild of America DGA trainee test, which is given twice a year, I believe (they have a website). Those who pass may be assigned as a production assistant on shooting films.

"Welcome back to all of you who are returning for yet another season; and to those of you joining us for the first time, we extend an especially warm welcome with the hope that you find the experience of working on "JAG" as enjoyable and rewarding as we do.

"JAG" is now one of the longest running shows currently on television and its success is undoubtedly due to the talent, dedication and professionalism that encompasses everyone's contributions to the series. Let's continue this tradition for another great season.

Also, our congratulations to Steve Bramson on his Emmy nomination for "Outstanding Music Composition for a Drama Series." He was nominated for his score for Episode #167, "Need to Know." This is Steve's second consecutive nomination in this category."

Harriet: The rights you are infringing upon belong to Paramount, the copyright owners of "JAG." The TPTB you refer to, I assume, is descriptive of the production company that writes, acts, edits and films the series. They are employees of Paramount, including the writers of the scripts you wish to publish without permission or compensation.

Question: Why are JAG fans so defensive of a massive production company's rights? They can take care of themselves. They are a big company with I'm sure a big legal department set aside for this kind of thing. Please don't flame me, as I only want to be educated and understand what the issue is behind this. I know you can constructively explain your view, and I honestly would love to hear and support that view.

Harriet: "The issue behind this" is: morality. It can't be taught or explained. If you think "massive corporations" are fair game, that's your morality. And while you're breaking Commandments, be careful not to break the Eleventh one..

Just imagine I was a guest in your home, and took some little whatsit that captured my fancy. I would be stealing your property, and I bet you'd be the first to call the police. The fact that I wasn't planning to make money by selling your whatsit would not be a good defense, now would it?

Question: Many of us tape the show and would never dream of 'selling' it for a profit. Posting would be a really neat way of promoting the show, IMHO, but then Mr. Bellisario has never done a lot of that in any of his series that I can remember. No action dolls, stuff like that, which is definitely his right.

Harriet: The previous topic has been beaten to death (and yet it still survives.) So I'm taking a slight detour, and only butting in once more (will she never learn!) because I feel compelled to set the record straight where it concerns Mr. Bellisario, the benefactor of my twilight years. (Sob!) Puleeze, can we lighten up, no one is out to get you.

Who owns "JAG"? Answer: Paramount is the copyright owner of the series. Every studio who puts up the money to produce a program is the owner of that "intellectual property." (He who pays the piper calls the tune.) The network, CBS in our case, pays a license fee to Paramount to air the show; this fee is short of the production cost. This is known as deficit financing, the rationale being that the network will recoup their fee through commercials, the studio their investment through syndication and ancillary rights, such as licensing clothing, books, whatever. DPB and everyone else who works on the series is basically either an employee of Paramount, or a vendor who submits a bill for payment.

The right to produce CD, VHS and DVD copies for sale remains with the studio and when Paramount decides to do any of it is their call. Perhaps not; there may be something in their contracts with CBS and/or syndication that prevents this for now, only they know. The NBC pilot of "JAG" is available on VHS so obviously Paramount Home Entertainment was free to go forward with this release at the time.

Licensing. When a show is popular, such as "JAG," manufacturers approach the Licensing Division of a studio (or the other way around) and negotiate a License Fee and royalty payments. The reason there is no "JAG" clothing for sale is because there already exists a manufacturer with that trademark. A deal may be in the offing for "JAG" items; time will tell. (Studios do not manufacture anything; they produce entertainment.)

Each year, the staff and crew of the show receive "JAG" imprinted gifts from the Producers and the Main Cast. These items are also donated to some charities to aid in their fundraising efforts; they are not sold, they are given away. Sometimes a former employee will sell some of their gifts on eBay. I once asked a Paramount lawyer to define what you can sell, legally. His answer: If you buy a CD and for some reason, don't want it, you can sell it. But you can't make copies of the CD and sell the copies.

Universal Studios is the copyright owner of the series DPB created and produced for them. "Magnum," "Airwolf" and "Quantum Leap" were licensed for clothing and other merchandise. Universal licensed two fan Conventions to Creation Entertainment, which also had the rights to QL-related merchandise.

Residuals. Various Guilds, notably the Screen Actors and the Writers Guild, have contracts with the studios to pay their members residuals. That is, if an episode is rerun, they receive a sliding scale of payments for this use. This also relates to scenes that are aired anywhere after the original episode airs; prior airing is considered "promotion."

Harriet: Actually, the funeral was early this morning (July 30th), with services at St. Charles in North Hollywood. The family had kept the day and time a secret, to insure privacy, and it was not announced until after the fact (I heard the details on the news, driving to work.)

I do remember that after we aired our tribute to Mr. Hope in the episode "Ghosts of Christmas Past," his office asked for copies of the show. I met publicist Ward Grant with the tapes and "JAG" caps and he told me how much Bob and Dolores enjoyed watching that episode. In turn, he gave me Bob Hope golf caps for the producers and I know I will treasure mine.

Harriet: Megan of Post happened by and I've forwarded your email to her for answer. As for DVDs, I've called Paramount Home Entertainment and told them of the many requests for same, and they confided they're inundated, too. "You're on the radar," I was advised, and promised updates. We'll see.

As my eyes focused, I saw this lovely creature carrying the most adorable apple-cheeked baby, the image of those angelic faces in the Gerber ads I remember seeing. It was 4-month-old Gemma, and after a lot of cooing on my part, I produced the photos of my Princess, 16-month-old Julianna. "This is what you have to look forward to in one year," I told the beaming parents, Adam and Catherine.

"JAG" had wrapped and they'd come to wish Don a Happy Birthday, as did Patrick, and I had the feeling people would be coming by late into the night, as the call time was 3:30 p.m. That made the lunch break at 9:30 p.m. (everyone has to eat every six hours) too late for me, as I had already melted.

Harriet: Sorry, don't really know at this time. However, I did see proofs of a photo that will run in the "returning shows" issue of an upcoming TV GUIDE: DJE and CB in a really cute pose. Actually, it's very inventive by the magazine's photographer, so be on the lookout for it soon.

Harriet: According to CBS, they have started promoting Friday night "JAG," but of course, we have been preempted for two weeks by football. Starting Friday, CBS will air four "JAG" reruns before the Season 9 premiere on Sept. 26, and the promotions will get heavier as that date approaches.

Harriet: The only time within my memory that there were two separate scripts per episode ever, were the three final "JAG" scripts for last season. Due to CB's pregnancy, the scenes involving her character had to be filmed earlier in the year, before she left to have her baby. And the more athletic scenes were filmed first, for obvious reasons. The scenes without her were filmed later. But, of course, all involved knew the story of the episodes, even though the scenes were written at different times by different writers.

Here is another thought: The average TV shooting script and subsequent revises are distributed to over 250 people: Execs at Paramount (who pay for the series), Execs at CBS (who pay a license fee to air the series), Legal Clearance (who advise whether names and references are "clear" for use), Budget (there's a "pattern budget" and if the script is "over budget," recommended changes are made), the Director, staff, cast and crew, department heads (wardrobe, locations, set decorator, casting, etc.) the Dept. of Defense, the Admiral (he's in the office today and just waved hello), the Technical Advisors, and so on and on and on. Oops, I left out the editors and about one hundred other people.

Harriet: Don't laugh, I paid those dues. I'll share one funny story (you can't imagine what can go wrong late at night, all alone with a typewriter -- Yes, Virginia, no computers then -- and a Xerox, waiting for the messengers to arrive -- but that's another story.)

Here's today's: The script was typed -- it was called the "master" because you made your copies from that one. I put it on my desk, and looked for brads to hold it together, before I made my way to the Xerox room -- it was on the 2nd Floor of the Producer's Building -- now called The John Ford Building -- at Universal Studios.

What I didn't realize was that I had put the "master" copy down on a Memo which someone had unfortunately put upon my desk face up. You guessed it -- I picked up the script and the Memo, bradded everything together, and proceeded to Xerox and distribute same.

Harriet: The promotion department of CBS creates the promos, so it's up to them. However, since we're still in post-production on the premiere episode (it doesn't air until Sept. 26th), I'm not sure when they'll get cut scenes.

Question: Also, I'm wondering why we didn't hear the line "You don't know that" that was heard in the preview of LG&M. This line too seems important to the scene but was left out. Was there a deliberate decision made not to include this line as well as Harm's line at the end of the scene, or was this simply a case of poor editing perhaps in a rush to get the ep in the can?

Nothing important was dropped from the scene. It's an example of an actor reacting as the other is saying their line. We can't be on Harm as he says his line and on Mac as she reacts if they both do it simultaneously. So we let Harm say the line and then cut to Mac's reaction over Harm's shoulder. If you

Question: (snippet from announcement that the Hallmark Channel will begin airing JAG reruns in 2005)"Kenin said Hallmark's standards-and-practices people will go over each "JAG" episode and edit out any scenes that may prove disturbing to the network's viewers."

Kip: You all know just how much we hate to see this happen. USA has been doing it for years to get in more commercials. But Hallmark apparently will be doing it for content. All I've seen mentioned on this list is speculation that it will be scenes that contain some sexual context. Those would be scare on JAG. But what if they'll edit out scenes containing violence?How will they handle Bud's leg being blown off or for that matter any of the combat action sequences?

Question:Actually, there are quite a few production companies out there who will accept scripts outside of an agent AS LONG AS you have the project copyrighted, send a query letter or submit at their request and sign a release form

There is another problem on TV series. Over the years we have discussed just about every possible story for a JAG episode. In fact, since the WGA (Writers Guild of America) requires us to buy two freelance scripts a season, we read a number of pro writers and pick the two best to pitch us. These pitches are always interspersed with us saying: "Thought about it, don't want to do it." "Thought about it and plan to do it in the near future." "Did it in year ____." or "We're writing that one right now."

Then we GIVE THEM them a story idea. They come back with the story beat out. We re-beat it. They write a first draft. We give notes. They write a second. More notes. We give up and have someone on staff re-write the entire script. The freelancers get the credit and the money...which with JAG reruns

Question:I was wondering if any of the actors or actresses that play on JAG were ever in the military. I know the actor that plays Bud has been in the business since a small child, but I wonder about the others. Some of them could have been in the National Guard or something, does anyone know?

Question:I have been watching old JAGs. What happened to Harm's sense or humor? Did you take it? If so, please give it back. Granted he is older and more mature, but as we age, we do not (I hope) loose our sense of humor. DJE has such a charming smile I would like to see more of it.

So that I'm not accussed of picking on DJE, Belisarius Productions and CBS have received hundreds of e-mails complaining about CBs hair the last couple of seasons. Her hair styling has been totally her choice. But guess who gets the blame in all those e-mails. Yep, TPTB.

Kip:Live theater and TV episodic drama is Apples and oranges. Directors in TV for the most part come in do an episode and move on. After years on a successful series, some stars feel they know their character better than a director.

Kip:I do agree with most directors that this is true. But not all. Again, the director is the guest on the set, especially of a long running show, and if the star or stars refuse to follow his direction saying that's not their character, what is he going to do?

Kip:They don't create their character. The show creator does that. Actors certainly can enhance that character or detract from it. The point that was being made by me was that fans almost always point to TPTB as the reason for their disliking something their actor does or doesn't do. TPTB have to shoulder the blame some of the time, but it certainly isn't a one-way street.

Kip:The camera and lighting crew are going to NCIS as well as a number of other crew members who have requested it.Since both shows are being filmed at the same Valencia studios, there will be a number of key crew members working both shows, such as wardrobe, transportation, special effects, stunts, etc.

Question:I can understand the director/character aspect, but what about the producers, etc. who pay the actors? Can they not say "CB, you're hairstyle is not working." And I'm just using this as an example, I like CB's hair, but many do not. If there are enough complaints that come in about anything, can TPTB tell them it has to change?

Kip:If an actress comes in with her hair already cut in a style that looks hip and great for fashion shoots and premiere's, but doesn't work when she has to wear a Marine cover...what do you do? Her hair can look just fine when it doesn't have to fit Marine regs.

Question:A while back I asked if it was too soon to know how many of the re-occuring cast had signed up for season 9. You said yes. How about now? The three actors I am interested in are Steven Culp, Randy Vasquez and Isabella Hoffman.

These adjustments to the show--which some fans will like and some will not--were made by DPB. He'd like to have all the actors in the JAG family on all the time. That's not realistic. We have a tighter cast budget this season and adjustments had to be made.

Question:What I would like to know,and this is the type of question that Kip never answers, is did KT & CC ask for their parts to be reduced or was it just done to them. If done to them it's a shame because only DJE & JMJ have been with the show longer(on screen).

Kip:I'll answer. It wasn't their choice. Is that a shame? Perhaps, but consider that Chuck has had a good run on JAG coming from a background person who was given a line of dialogue on the spur of the moment because we needed someone to sit in the Admiral's outer office.

The same is true for Karri, who was never intended to run more than a season or two. Then we married her to Bud and now that she is having a second baby on the show, we feel she should spend more time at home. Besides, there just isn't that much we can give her to do since she is not a lawyer. It's very costly to have to put a character in the show each week who basically can only do a passing scene in the office.

Question:How is it determined how much screen time the main characters get per episode? Obviously, DJE being the star he usually gets the most but are there contact terms that state how many lines or scenes each of the actors will have in every episode or does it just depend on the script?

Kip:No. Just the opposite. By the time a show gets to year nine the some show stars try to make contracts that limit the amount of work they do. That's not the case in JAG, but I've heard that Noah Wyle on ER only wants to work 3 days a week.

Question:Could you explain a little about cast budgets. Is the cast budget tighter because DBP and/or CBS (sorry, don't know how these things work) wanted more of the finances for NCIS or is there another reason that you can share?

Kip:There are a number of reasons, but DJEs salary is a major one. I'd have to go into numbers to explain that which I'm not going to do. The bottom line is, would we have cut back CC and KT if DJE hadn't got his big raise? Answer: probably not. But given the total cast budget we have to work with, cuts had to be made.

That isn't a condemnation of DJE. He has every right to get the maximum compensation he can. Who knows after JAG what he will get? Certainly not the salary he's getting on the 9th year of a show. You make it while you can in this business and no one here, including DPB, condemns him for that.

Question: (RE: News release about the title of the JAG Spin-off)NAVAL N.C.I.S. (A.K.A. N.C.I.S.) (CBS) - The Eye network has changed the title for its upcoming "J.A.G." spin-off yet again. Originally "N.C.I.S.," the series has been titled "Navy C.I.S.," then "Naval C.I.S.," then reverted back to "N.C.I.S." and now has apparently settled on "Navy N.C.I.S."

DPB cheered. He'd won! But, wait. Bruckheimer calls CBS and says people think he's putting on another version of CSI! (Guess there are more dyslexics out there than we thought.) CBS, not wanting to anger Bruckheimer or DPB, changes the name to Navy NCIS.

Question:When an actor/actress's contract comes up for renewal does the network always offer them a basic pay raise? Or is their salary always dependent upon what they (and their agents) ask for? Has there ever been a contract renewal on JAG where everything on the contract stayed the same including the number of episodes and the money given to the actor/actress?

Contracts are negotiated for a number of years with raises built it. If a show is a big sucess within those years and the actor or actress feels they are the reason (they always do) then their agents come in asking for more but we don't have to pay it since there is a contract. The power the actor or actress has is that case is that they can slow production with isvery costly without breaking their contract...blow lines, show up late, call in sick, etc.

Kip:On location you have to hire more teamsters to drive all the actors, makeup and wardrobe trailers, prop trucks, catering service, etc. Then you have location fees. Your shooting time is longer because everyone who has to drive from the studio to location and back are on the clock during drive time. Bottom line, it costs us about $50,000 more per day on location.

Question:On another note though. If a writer submits a script to DBP that requires a lot of shooting 'on location' does that have a HUGE impact on whether he (DBP) chooses to go with it or whether the script goes on the 'discard' pile?

That said, almost ever script once it's finished has to go through a 'production rewrite' for costs and scheduling. For example, we shoot around 8 pages a day. Our scenes run from less than a page to five. You can't go to a location unless at least 7-8 pages can be filmed in that area. And by that area, I mean a base camp is established and all the trucks, trailers and catering DON'T MOVE. Let's say we film a page outside the Admiral's house. Then we have a three page jogging scene...it has to be filmed in the area. Then a two page...oh, well you get the idea.

Question:...I surmised that the logistics of filming at the Red Cross building-in terms of permits, access, and setup for the numbers of people and amount of equipment necessary at the site must be extraordinarily difficult. Aside from its obvious visual appeal and Pasadena location, are there any special reasons why JAG chose and keeps the Red Cross building as "JAG headquarters"?

Kip:Anyone who has seen location for Robin Masters estate in Magnum is equally surprised. Magnum's guest house in the film is located on the opposite side of the main house from reality, there is a Rotary club that abuts it and private homes all around. All that matters is what you see on film. The use of wide lenses strategically placed can work wonders.

Question:I just finished watching the episode "True Callings" on USA for atleast the third or fourth time in the two years I've been a JAG fan. I still cannot quite understand why it was a given that Harm needed to return to JAG. I don't understand the advancement of a pilot very well, for sure, but it seems to me he was doing just fine. Why wouldn't he want to stay on and become a CAG after flying? He was obviously one of the best pilots on the Patrick Henry and definitely the most intelligent and mature (granted age played a part). Why wouldn't he make a good commander? Do they hold his time at JAG against him? I would think that the fact that he stayed in the Navy gives him the same seniority as anyone else his age. In my private sector job, the promotions go to the person with the best qualifications, no matter how long you've been there (our manager is the youngest person in our department - half the age of some of my coworkers). Is the military based strictly on flight hours? It just seems like a bunch of c***. Was this strictly a Holywood conclusion for the storyline or is the military really that backward?

Kip:The military is not backward at all in this respect. You said it yourself, you have a manager half the age of co-workedrs. In that squadron there were a number of top aviators with far more night and day traps (landings) and operational hours in the airls than Harm. And they are all ten years younger than he is. He might not even make squadron commander because of the younger aviators with so much more experience. And he could never make CAG. Most likely, he'd have finished his tour on the carrier and be sent to a desk job. Realizing that, he decided to return to JAG.

Question:...However, sometimes they're so changed one doesn't recognize them, and sometimes they don't exist. I remember (and most of you are too young to relate to this) how disappointed I was to find that 77 Sunset Strip never existed.

Kip:It never existed as 77 Sunset Strip, but a club, the name of which I don't know, did exist on Sunset Blvd just west of Laurel Cyn/Crescent Hgts on the south side of the street. It was a strip club at one point, perhaps it still is.

Question:Oh, I thought it was "All Ye Faithfull", the Xmas ep. I remember you saying then that you wanted Skates in that ep but she was on the east with her hubby and couldn't join. And therefor you brought in Tom Boone again to fly with Harm.

Question:KLast year there were some comments made about new characters this year. Has a decision been made yet on any new characters? With the reduction in screen time for some of the current recurring cast members, will others take their places or will DJE and CB be given more screen time?

I, along with the rest of you who knew Trevor by his appearances at the "JAG" fan conventions, will always remember his generosity of spirit, his infectious laughter and, above all, his friendliness to each and every one of us. He had a good heart, and that is high praise.

In lieu of flowers, a donation can be made to the Goddard Family Trust. The trust was set-up to benefit Travis and Daniel. (NOTE from Webmistress: In the interest of safety, we are not publishing the address. If you'd like to make a donation, please email us and we'll give it to you. Thanks for understanding)

Question:When you know you want to shoot "on location" how do you choose which place you want to shoot? Do you already have several different locations readily available to you throughout the year? Or do you have to work out a deal with the owners of a location everytime you want to shoot there? Are there other cities, or location owners bidding to get your business? How does this all work?

After the script is written for an episode, the Location Department sits down with the Director and the Producers to discuss what is called for when it comes to a set. (There are standing sets, such as the "JAG" offices, a courtroom, a submarine, the interiors of Mac and Harm's apartment, and so forth. Most interiors can also be built on our sets within our budget.)

Of course, our Location Department is aware of many localities within a 30-mile radius of Los Angeles which are available for exteriors. If it's owned by the City, a permit is called for; if it's privately owned, a fee is negotiated. If it's owned by the Military, the production donates money to that facility's favorite charity. (Our most prominent exterior is "JAG" headquarters in Falls Church, Va., which in reality is the Red Cross Building in Pasadena. This building is quite well-known as they rent out their premises for parties and weddings, also, since you must admit it's very picturesque. When is why we chose it, I'm sure)

Los Angeles, of course, is a city that can look like many countries, which is why the filmmakers came here in the first place. That, and the favorable weather. (Actually, the story goes that filmmakers in the East came West to avoid lawsuits by owners of patents they were usurping. Take your choice.)

L.A. is a desert, and can look like the Middle East; it has an ocean, it has mountains, it can look like Italy, Afghanistan and Paraguay and, of course, Mexico. Or Spain. I sound like a travel agent. And, yes, every State in the U.S. has a Film Commission that has brochures with their attractions in order to lure filmmakers and the money they can bring. Of course, that's for motion pictures; tv filmed episodes, such as "JAG," have a very short shooting span and a much smaller budget.

Universal Studios, where DPB worked for many years, as I did, has a tremendous back lot, with exteriors to fit almost any occasion. We used their water tank for the Adrift episodes; nearby was a restaurant where we used to lunch, which was used for Mac's engagement party, European Street was made to look like Italy, for "The Killer" episode.