Editing Podcast:Crossroads, Part II
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We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode. | We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode. | ||
This little bit here where we discover that Anders is a nugget, and in flight training, | This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters. | ||
Terry: Is that what that is? | Terry: Is that what that is? | ||
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Terry: I didn't catch it. | Terry: I didn't catch it. | ||
RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the | RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when- | ||
Terry: Somebody finished the line. | Terry: Somebody finished the line. | ||
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Terry: (Yawns.) | Terry: (Yawns.) | ||
RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[ | RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments- | ||
Terry: (Coughs.) | Terry: (Coughs.) | ||
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Terry: Right. | Terry: Right. | ||
RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies | RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies (RDM)|the twelve colonies]] was something the audience witnessed happened and no one else knows about. Laura saw him, the most Laura could say was that she had a vision where she saw him with the [[Number Six|blond cylon]] and that's it. So there was no charge there. | ||
Terry: While she was on [[Chamalla|watchamacallit]] | Terry: While she was on [[Chamalla|watchamacallit]] | ||
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Terry: Yeah. | Terry: Yeah. | ||
RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[ | RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors. | ||
Terry: This is such a great scene. | Terry: This is such a great scene. | ||
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Great look on both their faces. | Great look on both their faces. | ||
RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[ | RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time. | ||
Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]]. | Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]]. | ||
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RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these. | RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these. | ||
Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. | Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy. | ||
This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version. | This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version. | ||
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Terry: Didn't want it to be- | Terry: Didn't want it to be- | ||
RDM: There was a point where | RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't under<!--46:12-->- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that. | ||
Terry: There it is. | Terry: There it is. | ||
RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill her here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[ | RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill her here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually- | ||
Terry: I love this. | Terry: I love this. | ||
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RDM: Be good. Good night. | RDM: Be good. Good night. | ||
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