Podcast:Taking a Break From All Your Worries

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Teaser

Hello, and welcome to the podcast. I'm Ronald D. Moore, executive producer and developer of the new Battlestar Galactica, and tonight the smokes are Shermans, the Scotch is Glenross, and the episode is "Taking a Break From All Your Worries".

This one went through quite a bit of change. Which is, of course, something I'm sure you're shocked by; those regular listeners to the podcast often hear how radical changes have gone through. This one went round and round quite a bit, mostly in terms of tone and in what we were trying to accomplish with this episode. As the title implies, "Taking a Break From All Your Worries"- oh, and the trucks are back, as you can see, 'cause it's garbage day and I'm here at home in Berkley- home in Altadena, having returned from Berkley, briefly, to do the podcast. "Taking a Break From All Your Worries" is obviously a reference to the Cheers theme song. This episode was conceived as a lighter one. This was our comedy episode, (chuckles) oddly enough. The irony of that is twofold, considering what the episode- how the episode turned out in terms of tone and feel and also the fact that the last time we tried to do somewhat of a comedic episode, we also handed it to Eddie Olmos to direct. And neither one is probably a laugh riot, but I think the Tigh certainly, the "Tigh Me Up, Tigh Me Down" episode Eddie directed season one, certainly had a lighter- a light comedic touch. This one was not so much a case of Eddie taking the material and turning it dark, it was just over the process of working through this episode, story lines and scenes and then on to performances and then the cut and mood just kept getting darker and darker, just by the nature of the material. But the irony is we all still thought about this one as our light, fun-filled, episode, right up until where we saw the finished cut. (Chuckes.) We went, "Oh. Ok. So we won't really put a laugh track to this one."

The network, in fairness to the network, was also a bit surprised, because we had sold this to them as a light episode and we said, "Well, we'll do a light episode and this will be the one, episode twelve," and they were quite happy, as you can imagine, after all the darkness that we do in the show, to have something to look forward to on the horizon that was a little bit lighter and when they saw the episode they too were shocked and not too happy that it had not turned out as light as it was- as light as it had been sold to them, in all fairness. And so there was, there were a bit of discussions about content and mood and graphic issues and so on, but in this case they were certainly within their rights 'cause they had been, from their point of view, they had certainly be sold a bill of goods in terms of what the episode was going to be. From our side of the fence, I don't think any of us ever really intended to turn this as dark as it turned out to be.

We had begun this episode with the idea that- of getting a new bar. We blew up Cloud Nine at the end of the second season and when we did that it was with the explicit understanding that eventually we would establish a new bar, a new place to relax- or for characters to go and relax, and enjoy themselves. That was something important to the network, and to us internally, that you had a place to blow off steam and play some lighter moments and so- show the life of the and so on. Once we had brought more civilians aboard Galactica because of the escape from New Caprica and the fact that they lost so many people and they had lost so many ships and we started doubling up and putting civilians aboard Galactica as a way of helping ourselves with story. It also seemed natural to build the bar on Galactica instead of setting it off on another ship of the Fleet that we would constantly have to be finding excuses to going back and forth to go see. So the initial draft of this, the initial story draft, the Le- there was always the Baltar being tortured and interrogated story line driven by Laura, predominantly, but the Lee storyline had to- was a lighter one and it was inspired by Catch-22 and the character Milo Minderbinder and his- who is the supply guy in Catch-22 who is always trading one thing to get another and was always a wheeling-dealing classic military type and also there's a famous M*A*S*H episode that I always have been fond of where Hawkeye has a whole in his boot and in order to get a fresh pair of boots he continually has to get Radar to do something to get Klinger to do something to get "Hot Lips" to do something, this long chain of trades in order to get his boots, and it all comes crashing down and this was- a similar idea with Lee was trading getting Dualla to do something to get Tyrol to do something, etc., etc. to eventually save this bar. First, to build the bar and then in subsequent drafts to save the bar that was about to go under. And it was a nice idea and well executed, but it never quite gelled for me, and as we worked through the story line and as we worked through the drafts we kept shaping and molding it and we realized that we couldn't just ignore the things, the events, that had happened in the previous two-parter in terms of their marriage and relationships with Kara and Dualla and Lee and Anders, Lee and Anders having been married by this time, of course. And so we decided to move it further in that direction. Well, moving that storyline further in that direction inevitably meant that it was gonna be more about the relationships, it was gonna be about problems in their marriages, it was gonna be about much heavier kinds of issues.

Baltar's suicide is a topic of much discussion there in the teaser. I think it was Eddie, in a conversation with Mike Taylor and James Callis that came up with exactly how the hanging was gonna work and how he would get the materials and so on. There is a bit of a conceit. I'll admit that we're conceiting a certain amount of freedom in terms of Baltar's incarceration. That he's not watch on a camera twenty-four hours. He's not in solitary. He's not- well, he's in solitary, but he's not under constant surveillance, and that's a bit of a conceit to make the show work and make us- to allow us to do the different episodes we wanted to do.

Act 1

So here we are in the bar. This is the reveal of the bar. The "Why not?"^[06:51]- sorry- Joe's. (Chuckle.) I just looked back through the earlier drafts before I got on the podcast. It used to be called the "Why not?" which was an interesting name. Then it became Joe's, after the bartender. I love that shot of the Ra- of the Viper hanging from the ceiling.

^[07:07]The young man you just saw there in the wheelchair was a visitor to the set who was a huge fan of the show and was actually confined to a wheelchair and the cast and crew took to him and showed him around and really made him feel like he was part of the family, I hope, for the day or two that he was around and put him in the set. Gave him a shirt, put him in. We're happy to include him in the show. So that's a very nice gesture that they made. That some- indicative of the spirit of the cast and the crew on the set. It wasn't really something that I was personally involved with.

This idea of Tyrol and Lee sharing their problems a little bit. Two married men dealing with the vicissitudes of marriage was an idea that we really liked. It felt natural in that these two, the chief of the deck and the commander of the air group prolly saw each other a lot anyway. And naturally talked to one another.

I was talking about earlier, why does Baltar get access to material that he could construct a rope with? Why isn't he watched twenty-four hours a day? It's a conceit. We're pushing a little bit of believability. It's dramatic license if you wanna look at it that way. If he was under constant scrutiny, if they were staring at him twenty-four hours a day, we couldn't do much in the way of story for the rest of the season. And I think that the price that you- if you're gonna do that, you take that dramatic license, to be fair then you don't make them look stupid by allowing him to get materials that he could then escape with or that he could actually injure somebody with, so that there's never a penalty that makes the characters looks stupid for allowing those things to happen. I think that's how you balance the line between realism and dramatic license.

This beat with Gaeta, the o- or the story line with Gaeta was something that was in the very initial story document, that Gaeta still has issues. Especially after what he went through in "Collaborators", was nearly killed for his association with Baltar, now Baltar's back aboard Galactica and there was something interesting about the fact that Gaeta was having trouble living with that. Was having trouble just knowing that the guy was around and sittin' down there in that cell and probably gonna get his trial and everything. And that he would not be able to quite deal with it.

And, of course, here's a scene that I'm sure many of you at home have had where you come home drunk. The wife is still there, still up. You've been out at the bar. She didn't go with you and she ain't too happy.

This episode probably deals more with their marriage than we have done in previous episodes, mostly because of the stories that we've chosen to tell haven't given us a lot of opportunity to deal with Lee and Dualla. At this point in the season, it's starting to feel like we got a firmer handle on the character of Lee, of where he was going.