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<blockquote data-quote="Snarky Oracle!" data-source="post: 329606" data-attributes="member: 57984">Yes. A lot of people glaze over at the use of terms like &quot;emotional subtext&quot; and discussion about cinematography, interpreting that kind of terminology as &quot;pretentious&quot; -- often countering that &quot;well, I just pay attention to the story&quot; -- but their involvement in &quot;the story&quot; can vary dramatically with how that story is directed, photographed, scored and, naturally, acted.When Bradford May filmed Season 7 (per DVD count) it added so much dimension to DALLAS that it was almost deafening ---- it didn&#039;t hurt that 1983 was probably the creative zenith for the show and that the Katzman-Paulsen-Lewis triumvirate of writers were doing their best work... But from the first episode that fall, after the fire, I was bowled over by how &quot;real&quot; the show felt, how big the silences were, how profound it all suddenly was.According to Paulsen, quite believably, Uncle Lenny hated it and only wanted dull flat-lighting because DALLAS &quot;was a cartoon&quot; -- a goal Katzman would eventually fulfill, even though a cartoon was not exactly what the audience preferred, and they started tuning out when that noble artistic choice was ultimately realized.Same with seasons of the year. They exist in real life and those seasons are largely about atmosphere. And that can connect the fictional scripted drama in some way to the reality of Life on Earth which might not otherwise be achieved.It&#039;s why Charlene seems like a better actress when she&#039;s out under the sunlight.[ATTACH=full]38506[/ATTACH]</blockquote>

[QUOTE="Snarky Oracle!, post: 329606, member: 57984"] Yes. A lot of people glaze over at the use of terms like "emotional subtext" and discussion about cinematography, interpreting that kind of terminology as "pretentious" -- often countering that "well, I just pay attention to the story" -- but their involvement in "the story" can vary dramatically with how that story is directed, photographed, scored and, naturally, acted. When Bradford May filmed Season 7 (per DVD count) it added so much dimension to DALLAS that it was almost deafening ---- it didn't hurt that 1983 was probably the creative zenith for the show and that the Katzman-Paulsen-Lewis triumvirate of writers were doing their best work... But from the first episode that fall, after the fire, I was bowled over by how "real" the show felt, how big the silences were, how profound it all suddenly was. According to Paulsen, quite believably, Uncle Lenny hated it and only wanted dull flat-lighting because DALLAS "was a cartoon" -- a goal Katzman would eventually fulfill, even though a cartoon was not exactly what the audience preferred, and they started tuning out when that noble artistic choice was ultimately realized. Same with seasons of the year. They exist in real life and those seasons are largely about atmosphere. And that can connect the fictional scripted drama in some way to the reality of Life on Earth which might not otherwise be achieved. It's why Charlene seems like a better actress when she's out under the sunlight. [ATTACH type="full" width="617px" alt="may2.jpg"]38506[/ATTACH] [/QUOTE]

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Who played JR Ewing?