Podcast:A Day in the Life Bonus - Revision history

Catrope: {{podcast data}}

2008-02-27T21:23:34Z

← Older revision		Revision as of 21:23, 27 February 2008
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	{{podcast		{{Podcast Data
	\|~~author~~=~~Catrope~~		\|special=15
	\|~~emailAuthor2~~=~~and~~ [[~~Special~~:~~Emailuser~~/Veepz\|Veepz]]		\|season=
	\|~~suffix~~=s		\|episode=
	\|~~additionalCopyright~~=, [[Jaques Gravett]] ~~and~~ [[Michael O'Halloran]]		\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Catrope\|Catrope]]<br/>[[User:Veepz\|Veepz]]
			\|verified by=
			\|length=
			\|finished=
			\|verified=
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			\|speaker1= [[Jaques Gravett]]
			\|speaker2= [[Michael O'Halloran]]
	}}		}}

Veepz: /* Hour 1 */ saving 11:31 to 12:06

2007-07-25T10:46:08Z

Hour 1: saving 11:31 to 12:06

← Older revision		Revision as of 10:46, 25 July 2007
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	Gravette: Come in!(''To the knock at the door'')		Gravette: Come in!(''To the knock at the door'')


	RDM: That was kinda interesting and it gave me a sense of something other— Hey dude! (''To the person entering'')— It gave me like a nice feeling of something other then just sort of being someplace else. The mood and the feeling there where you're jump cutting around on her face, I like that. It kinda helps me, in those cottage<!-- 11:00 --> scenes, it keeps them from being just sort of long flashbacks so I'd like to do some more of that kind of—		RDM: That was kinda interesting and it gave me a sense of something other— Hey dude! (''To the person entering'')— It gave me like a nice feeling of something other then just sort of being someplace else. The mood and the feeling there where you're jump cutting around on her face, I like that. It kinda helps me, in those cottage<!-- 11:00 --> scenes, it keeps them from being just sort of long flashbacks so I'd like to do some more of that kind of—
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	Gravette: First time we go to the house in the tease<!-- 11:30 --> or are you talking abou—		Gravette: First time we go to the house in the tease<!-- 11:30 --> or are you talking abou—

			RDM: In the tease. Okay. I'm wondering if this is how we open the episode. Go ahead and play.

			RDM: This is already more interesting than this.

			RDM: I assume we don't have his matching POV, right?

			Gravette: Right.

			RDM: How much head do you have on that shot?

			Gravette: I have more.

			RDM: <!-- 12:00 -->It's a beatiful opening pan. And it's interesting 'cause it's in that sort of beveled—

			Gravette: Exactly

			RDM: —The ripple on the glass...



	== Hour 2 ==		== Hour 2 ==

Veepz: saving 8:41 to 11:31

2007-07-24T21:04:04Z

saving 8:41 to 11:31

← Older revision		Revision as of 21:04, 24 July 2007
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	Gravette: So.		Gravette: So.

	RDM: Let's keep going.		RDM: Let's keep going.<!-- 8:41 -->

			RDM: <!-- 9:15 -->I'm not so into the reverb.

			Gravette: The reverb?

			RDM: Yeah, I'm not into the reverb.

			Gravette: Okay, that's fine.<!-- 9:20 -->

			RDM: <!-- 10:33 -->See that little bit that there. Where you're in the house and you kinda jump cut that little section.

			Gravette: Yeah. (''Knock, knock, knock on the door'')

			RDM: That uh—

			Gravette: Come in!(''To the knock at the door'')


			RDM: That was kinda interesting and it gave me a sense of something other— Hey dude! (''To the person entering'')— It gave me like a nice feeling of something other then just sort of being someplace else. The mood and the feeling there where you're jump cutting around on her face, I like that. It kinda helps me, in those cottage<!-- 11:00 --> scenes, it keeps them from being just sort of long flashbacks so I'd like to do some more of that kind of—

			Gravette: Cutting.

			RDM: What's occuring to me is... Okay. I'm sorry, what's the end of the teaser? Oh I'm just jumping around.

			Gravette: We're right there. Adama walks out.

			RDM: He just walks out. That's it.

			Gravette: After looking at the picture.

			RDM: We don't go back to Cally—Tryol?

			Gravette: No.

			RDM: Okay. Let's go to the first time we go to the house.

			Gravette: First time we go to the house in the tease<!-- 11:30 --> or are you talking abou—

Veepz: saving 7:27 to 8:41

2007-07-24T19:37:04Z

saving 7:27 to 8:41

@@ Line 87: / Line 87: @@
 Gravette: Yeah, actually on this group, kinda limbs in our choices. There's not a ton of coverage. We shot it on two separate days.  But, we'll slug that for a pick up.
 RDM: Okay
 == Hour 2 ==

Veepz: /* Hour 1 */ 6:30 to 7:27

2007-07-19T00:01:35Z

Hour 1: 6:30 to 7:27

← Older revision		Revision as of 00:01, 19 July 2007
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	RDM: It's just the question of how you— how the rhythm of those two things play. Well, let's watch the tease.		RDM: It's just the question of how you— how the rhythm of those two things play. Well, let's watch the tease.

			RDM: <!-- 6:30 -->(unintelligible) —looks are there. Is there a matching for the empty bunk, through his POV?

			Gravette: No.

			RDM: 'Cause we looked over then we cut to the toilet.

			Gravette: Yeah.

			RDM: Which feels (unintelligible).

			Gravette: I can try to get around it.

			RDM: I wish there was. Just because that moment tells you that she's not there.

			Gravette: She's not there.

			RDM: Do we have any shots of the empty bunk (unintelligible).

			Gravette: We can try to manufacture something up, but yeah, I was aware of that...<!-- 7:00 -->

			RDM: 'Cause I think that is kind of important here. I mean it's— in this long shot it's also dark, you can't tell that she's not in the bed.

			Gravette: Yeah, it's tough.

			RDM: And somewhere in here we need to get the idea that the womans not really there.

			Gravette: We might have to pick that up.

			RDM: Okay.

			Gravette: Yeah, actually on this group, kinda limbs in our choices. There's not a ton of coverage. We shot it on two separate days. But, we'll slug that for a pick up.

			RDM: Okay

	== Hour 2 ==		== Hour 2 ==

Catrope: add Veepz to template

2007-07-02T12:54:03Z

add Veepz to template

← Older revision		Revision as of 12:54, 2 July 2007
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	{{podcast\|author=Catrope\|emailAuthor2=\|suffix=\|additionalCopyright=, [[Jaques Gravett]] and [[Michael O'Halloran]]}}		{{podcast
			\|author=Catrope
			\|emailAuthor2=and [[Special:Emailuser/Veepz\|Veepz]]
			\|suffix=s
			\|additionalCopyright=, [[Jaques Gravett]] and [[Michael O'Halloran]]
			}}

	== Hour 1 ==		== Hour 1 ==
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	RDM: Yeah.		RDM: Yeah.

	O'Halloran: —like you don't realize where it's going and it's a big surprise ,(unintelligible) but it comes almost as too much for the last few moments of the show.		O'Halloran: —like you don't realize where it's going and it's a big surprise, (unintelligible) but it comes almost as too much for the last few moments of the show.

	RDM: It does. It's like everything happens at the end, when they get out the [[Galen Tyrol\|Tyrol]]— the [[Cally Henderson\|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?		RDM: It does. It's like everything happens at the end, when they get out the [[Galen Tyrol\|Tyrol]]— the [[Cally Henderson\|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?

Catrope: Verification changes

2007-07-02T12:50:34Z

Verification changes

← Older revision		Revision as of 12:50, 2 July 2007
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	RDM: —we're at the post-production editing suites here at the [http://www.universalstudios.com Universal] lot, and we're working on the director's cut of "A Day in the Life". OK.		RDM: —we're at the post-production editing suites here at the [http://www.universalstudios.com Universal] lot, and we're working on the director's cut of "A Day in the Life". OK.

	I like this epis— I like things about this episode, I think ultimately, <!-- 0:30 -->as I was watching it, it took a while to get going. And it ~~seems—~~ the [[William Adama\|Adama]]-[[Carolanne Adama\|Carolanne]] beats kind of lither, they don't— I'm just not pulled into that story enough, I'm wondering if— and it didn't really have a solution, except— I was thinking that maybe the stuff that comes out on the end about the divorce and the relationship with [[Lee Adama\|Lee]], if there was a way to maybe move some of that material up earlier, so that ~~we sort of—~~ if we knew some of those <!-- 1:00 -->things about their relationship, about Adama and Carolanne in the open— in the beginnings, at some place, that that would maybe flavor and color the things about what was happening through the rest of the show. And maybe there's a way of that— y'know that the final scene with Lee and Adama, where Lee reveals all that, if we move some of that up in the earlier section... It's just a question of what's the resolution of the story without that, because it's— the beat with him and her after <!--1:30 -->he's with Lee, when they're in the house and he's saying "I wish I'd known, I can't believe you were like that". And they've reconciled, I don't quite sense that the journey's somehow—		I like this epis— I like things about this episode, I think ultimately, <!-- 0:30 -->as I was watching it, it took a while to get going. And it seems the [[William Adama\|Adama]]-[[Carolanne Adama\|Carolanne]] beats kind of lither, they don't— I'm just not pulled into that story enough, I'm wondering if— and it didn't really have a solution, except— I was thinking that maybe the stuff that comes out on the end about the divorce and the relationship with [[Lee Adama\|Lee]], if there was a way to maybe move some of that material up earlier, so that we— if we knew some of those <!-- 1:00 -->things about their relationship, about Adama and Carolanne in the open— in the beginnings, at some place, that that would maybe flavor and color the things about what was happening through the rest of the show. And maybe there's a way of that— y'know that the final scene with Lee and Adama, where Lee reveals all that, if we move some of that up in the earlier section... It's just a question of what's the resolution of the story without that, because it's— the beat with him and her after <!--1:30 -->he's with Lee, when they're in the house and he's saying "I wish I'd known, I can't believe you were like that". And they've reconciled, I don't quite sense that the journey's somehow—

	O'Halloran: Well, it's a nice reveal, but it's almost too big a reveal—		O'Halloran: Well, it's a nice reveal, but it's almost too big a reveal—
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	O'Halloran: —like you don't realize where it's going and it's a big surprise ,(unintelligible) but it comes almost as too much for the last few moments of the show.		O'Halloran: —like you don't realize where it's going and it's a big surprise ,(unintelligible) but it comes almost as too much for the last few moments of the show.

	RDM: It does. It's like everything happens at the end, when they get out the ~~Tyrol—~~ the [[Cally Henderson\|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?		RDM: It does. It's like everything happens at the end, when they get out the [[Galen Tyrol\|Tyrol]]— the [[Cally Henderson\|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?

	Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of ~~[[Galen~~ Tyrol~~\|Tyrol]]~~-Cally, that's when the story starts moving. But it's <!-- 2:30 -->weird for me, because the Carolanne-Adama scenes, they're not true flashbacks.		Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of Tyrol-Cally, that's when the story starts moving. But it's <!-- 2:30 -->weird for me, because the Carolanne-Adama scenes, they're not true flashbacks.

	RDM: They're sort of— they're contemporary.		RDM: They're sort of— they're contemporary.
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	O'Halloran: Right.		O'Halloran: Right.

	Gravett: Because you don't want it to seem like he's going senile, like it's all just~~, you know,~~ in his head. So that's—		Gravett: Because you don't want it to seem like he's going senile, like it's all just in his head. So that's—

	O'Halloran: But not like— not in a psychotic way—		O'Halloran: But not like— not in a psychotic way—
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	Gravett: Right.		Gravett: Right.

	O'Halloran: It's as if she were still alive, this is how she would react in this situation, ~~you know~~ in his mind, as his would be—		O'Halloran: It's as if she were still alive, this is how she would react in this situation, in his mind, as his would be—

	RDM: But I wonder if we should em— If we should shift the emphasis of the show to the Tyrol— If we thought of Tyrol-Cally as the A story, and Adama-Carolanne <!-- 3:00 --> as the B story, would the show— would it help us a little bit just in setting the terms to the show? 'Cause maybe the Adama— the Adama line is so soft, it really doesn't have any true jeopardy or any emotional stakes to it, but— and the Tyrol-Cally line does. Maybe if we just suddenly play a little bit more— I mean, it's essentially a story about two marriages—		RDM: But I wonder if we should em— If we should shift the emphasis of the show to the Tyrol— If we thought of Tyrol-Cally as the A story, and Adama-Carolanne <!-- 3:00 --> as the B story, would the show— would it help us a little bit just in setting the terms to the show? 'Cause maybe the Adama— the Adama line is so soft, it really doesn't have any true jeopardy or any emotional stakes to it, but— and the Tyrol-Cally line does. Maybe if we just suddenly play a little bit more— I mean, it's essentially a story about two marriages—

	O'Halloran: I was gonna say, if that what works well, it (unintelligible) the position of a young marriage just getting started and one—		O'Halloran: I was gonna say, it's that what works so well, it (unintelligible) the position of a young marriage just getting started and one—

	RDM: ~~And~~ one that's—		RDM: —and one that's—

	O'Halloran: —finished now.		O'Halloran: —finished now.

	RDM: —the divorced dead one. <!-- 3:30 -->		RDM: —the divorced, dead one. <!-- 3:30 -->

	O'Halloran: It plays really well against one another.		O'Halloran: It plays really well against one another.

Catrope: /* Hour 1 */ correcting some stuff, some guesswork involved, will verify

2007-07-02T10:44:11Z

Hour 1: correcting some stuff, some guesswork involved, will verify

← Older revision		Revision as of 10:44, 2 July 2007
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	Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of [[Galen Tyrol\|Tyrol]]-Cally, that's when the story starts moving. But it's <!-- 2:30 -->weird for me, because the Carolanne-Adama scenes, they're not true flashbacks.		Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of [[Galen Tyrol\|Tyrol]]-Cally, that's when the story starts moving. But it's <!-- 2:30 -->weird for me, because the Carolanne-Adama scenes, they're not true flashbacks.

	RDM: They're sort ~~of-~~ they're contemporary.		RDM: They're sort of— they're contemporary.

	O'Halloran: Right.		O'Halloran: Right.

	Gravett: Because you don't want it to seem like he's going senile, like it's all just, you know, in his head. So that's-		Gravett: Because you don't want it to seem like he's going senile, like it's all just, you know, in his head. So that's—

	O'Halloran: But not ~~like-~~ not in a psychotic ~~way-~~		O'Halloran: But not like— not in a psychotic way—

	Gravett: Right.		Gravett: Right.

	O'Halloran: Is as if she were still alive, this is how she would react in this situation, you know in his mind, as ~~has~~ would ~~be-~~		O'Halloran: It's as if she were still alive, this is how she would react in this situation, you know in his mind, as his would be—

	RDM: But I wonder if we should ~~em-~~ If we should shift the emphasis of the show to the ~~Tyrol-~~ If we thought of ~~Tryol~~-Cally as the A story, and Adama-Carolanne <!-- 3:00 --> as the B story, would the ~~show-~~ would it help us a little bit just in setting the terms to the show? ~~Cuz~~ maybe the ~~Adama-~~ the Adama line is so soft, it really doesn't have any true jeopardy or any emotional stakes to it ~~but-~~ and the Tyrol-Cally line does. Maybe if we just ~~kinda~~ suddenly play a little ~~but more-~~ I mean it's essentially a story about two ~~marriages-~~		RDM: But I wonder if we should em— If we should shift the emphasis of the show to the Tyrol— If we thought of Tyrol-Cally as the A story, and Adama-Carolanne <!-- 3:00 --> as the B story, would the show— would it help us a little bit just in setting the terms to the show? 'Cause maybe the Adama— the Adama line is so soft, it really doesn't have any true jeopardy or any emotional stakes to it, but— and the Tyrol-Cally line does. Maybe if we just suddenly play a little bit more— I mean, it's essentially a story about two marriages—

	O'Halloran: I was ~~ganna~~ say, if that what works well, it (unintelligible) the position of a young marriage just getting started and ~~one-~~		O'Halloran: I was gonna say, if that what works well, it (unintelligible) the position of a young marriage just getting started and one—

	RDM: And one that's-		RDM: And one that's—

	O'Halloran: ~~-Finished~~ now.		O'Halloran: —finished now.

	RDM: ~~-the~~ divorced dead one. <!-- 3:30 -->		RDM: —the divorced dead one. <!-- 3:30 -->

	O'Halloran: It plays really well against one another.		O'Halloran: It plays really well against one another.

	RDM: It's just the question of~~, you know ,~~ how ~~you-~~ how the rhythm of those two things play. Well, let's watch the tease~~(teaser)~~.		RDM: It's just the question of how you— how the rhythm of those two things play. Well, let's watch the tease.


	== Hour 2 ==		== Hour 2 ==

Veepz: 2:33 to 3:39

2007-07-01T08:33:23Z

2:33 to 3:39

@@ Line 18: / Line 18: @@
 RDM: Yeah.
-O'Halloran: —like you don't realize where it's going and it's a big surprise (unintelligible), but it comes almost as too much for the last few moments of the show.
+O'Halloran: —like you don't realize where it's going and it's a big surprise ,(unintelligible) but it comes almost as too much for the last few moments of the show.
-RDM: It's like everything happens at the end, when they get out the Tyrol— the [[Cally Henderson|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?
+RDM: It does. It's like everything happens at the end, when they get out the Tyrol— the [[Cally Henderson|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying?
 == Hour 2 ==

Mercifull at 11:32, 19 April 2007

2007-04-19T11:32:50Z

← Older revision		Revision as of 11:32, 19 April 2007
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	== Hour 3 ==		== Hour 3 ==

			{{Podcast list (RDM season 3)}}