Editing Podcast:Exodus, Part II
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I also talked about last week, the fact that this episode cleaved itself very nicely at the midway point with Adama getting 'em all ready to go, and then us finally going. When the two episodes were cut- were edited together, we still had to go back and do some pickup scenes. This scene here at the top of the show in the tease with [[Lee Adama|Lee]] and [[Anastasia Dualla|Dualla]] is one of the pickup scenes that we shot much later, and went back. It was nice to visit with Lee and Dualla and deal with the fact that he's out with the remnants of humanity. That they're trying to make the best of a bad situation. But that he's having trouble living with it. The same way that his father did. So that was a nice echo of the fact he is his father's son on some level and that just as his dad had real trouble with turning his back on those people, that Lee would have trouble turning his back on his dad and those people. | I also talked about last week, the fact that this episode cleaved itself very nicely at the midway point with Adama getting 'em all ready to go, and then us finally going. When the two episodes were cut- were edited together, we still had to go back and do some pickup scenes. This scene here at the top of the show in the tease with [[Lee Adama|Lee]] and [[Anastasia Dualla|Dualla]] is one of the pickup scenes that we shot much later, and went back. It was nice to visit with Lee and Dualla and deal with the fact that he's out with the remnants of humanity. That they're trying to make the best of a bad situation. But that he's having trouble living with it. The same way that his father did. So that was a nice echo of the fact he is his father's son on some level and that just as his dad had real trouble with turning his back on those people, that Lee would have trouble turning his back on his dad and those people. | ||
We'll talk about the storyline of the [[Pegasus (RDM)|''Pegasus'']] and how it changed over the drafts a little bit later but, suffice to say, essentially the original story line as constructed always | We'll talk about the storyline of the [[Pegasus (RDM)|''Pegasus'']] and how it changed over the drafts a little bit later but, suffice to say, essentially the original story line as constructed always invisioned the destruction of the ''Pegasus''. That was always something that we were going to do at the beginning of this season. I liked having the ''Pegasus'' with [[The Fleet (RDM)|the Fleet]]. I thought it was an interesting vessel to have with us. It was interesting that we kept it around as long as we did. But there was something pure about the fact that the battlestar is the last surviving warship and that we did not have this other even bigger and more powerful aircraft carrier sitting off the port bow, as it were. And also there was practical considerations in that the ''Pegasus'' sets were eating up studio space that we didn't really have. We had to build all the ''Pegasus'' sets on an adjacent sound stage to our normal main sets and this season we had this, this storyline of mine that we'll be getting to in the very next episode that takes place on a [[Cylons (RDM)|Cylon]] [[Basestar (RDM)|Basestar]]. And we needed a place to build the Basestar sets. This is really where TV production considerations come in and can really affect the creative arcs of the show. Even though I was predisposed to get rid of the ''Pegasus'' within this storyline because it felt like the right time to do it. The ''Pegasus'' should go out with a noble sacrifice and should go in an epic battle that really meant something in the life of the series, and meant something to Lee Adama when it finally went down. The thing that really tipped it over the edge was, well, "What gives us the best bang for the buck in the show? Where do we really want to spend our time?" When you have ''Pegasus'' we had to populate it, we had to keep people over there. You were always bouncing back and forth between the two ships. ''Pegasus'' was a very limited set, in that we didn't have very much. We had, essentially, this room, which was always the Commander's quarters, we had the [[CIC]] in ''Pegasus'', and a stretch of corridor, and a multipurpose room that we turned into the [[brig]] and we turned into their [[Pilot Ready Room|ready room]], etc. But that was it. So, we didn't have much else to do over on ''Pegasus'' and when we did try to do other things it was very, very difficult. | ||
This story. The story of [[Saul Tigh|Tigh]] and [[Ellen Tigh|Ellen]] was something we decided very early on that we were gonna do. That Ellen's price that she would pay would be a severe one. That she had collaborated with the Cylons, even though it was- she was in a difficult situation with no real way out, she was trying to do the best she could for her husband. She tried to get him out of [[New Caprica Detention Center|a jail]], and she did get him out of jail, but then when they pressured her she bent. And she gave them the map. And men died. And Tigh's the leader of the [[New Caprica Resistance|resistance]]. Ultimately knew that something had to be done about that. And that he was gonna be the man that had to do it. | This story. The story of [[Saul Tigh|Tigh]] and [[Ellen Tigh|Ellen]] was something we decided very early on that we were gonna do. That Ellen's price that she would pay would be a severe one. That she had collaborated with the Cylons, even though it was- she was in a difficult situation with no real way out, she was trying to do the best she could for her husband. She tried to get him out of [[New Caprica Detention Center|a jail]], and she did get him out of jail, but then when they pressured her she bent. And she gave them the map. And men died. And Tigh's the leader of the [[New Caprica Resistance|resistance]]. Ultimately knew that something had to be done about that. And that he was gonna be the man that had to do it. | ||
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Love all the [[Cylon Raider (RDM)|Raiders]] flying overhead. They're dealing with a major fire, a conflagrations are setting- are being set off all around the city. And then the insurgents get their weapons and start fighting and try and get to the airfields and it's chaos. | Love all the [[Cylon Raider (RDM)|Raiders]] flying overhead. They're dealing with a major fire, a conflagrations are setting- are being set off all around the city. And then the insurgents get their weapons and start fighting and try and get to the airfields and it's chaos. | ||
Meanwhile... Now this storyline was different in the original draft. The original draft storyline of the rescue had to do with both [[Galactica type battlestar|battlestars]] working together. [[Pegasus (RDM)|''Pegasus'']] and ''Galactica'' would come to the rescue. And what was going to happen was that ''Galactica'' was gonna appear to be destroyed. They were gonna set off a nuke at the same time that they were being hit by the Cylons and during the flash, during the brilliant bright flash of the nuke going off, ''Galactica'' was going to [[Propulsion in the Re-imagined Series#Faster than Light Travel|jump away]] and jump into a very low orbit over New Caprica and try to be a- try to play escort ship and fight off the Cylons as the civilians came above. And as I was working through my draft it didn't- I was having trouble just making it work and tracking it. There's a lot of times you think things work well in story and then you find out that they don't work as well on the page as you thought that they would. And I was also looking for ways to- I wanted to call back the training | Meanwhile... Now this storyline was different in the original draft. The original draft storyline of the rescue had to do with both [[Galactica type battlestar|battlestars]] working together. [[Pegasus (RDM)|''Pegasus'']] and ''Galactica'' would come to the rescue. And what was going to happen was that ''Galactica'' was gonna appear to be destroyed. They were gonna set off a nuke at the same time that they were being hit by the Cylons and during the flash, during the brilliant bright flash of the nuke going off, ''Galactica'' was going to [[Propulsion in the Re-imagined Series#Faster than Light Travel|jump away]] and jump into a very low orbit over New Caprica and try to be a- try to play escort ship and fight off the Cylons as the civilians came above. And as I was working through my draft it didn't- I was having trouble just making it work and tracking it. There's a lot of times you think things work well in story and then you find out that they don't work as well on the page as you thought that they would. And I was also looking for ways to- I wanted to call back the training manuever that we saw all the way back in "[[Occupation]]" and make that play into it. So you saw that they were working on the same maneuver. And so as I was working the logic of the scene I started with the training maneuver. And it was like, "Ok. What were those guys training?" They were sending out [[Swallow|drones]]. And what are the drones about? Maybe the drones are simulating battlestars. And then I came up with this thing about, "Ok. It's two- the drones are the decoys making the Cylons think that the two battlestars have arrived." And in the original storyline what happened was after ''Galactica'' jumped away, after the fake nuke allowed ''Galactica'' to jump away from the Cylons, the Cylons started pounding on ''Pegasus'' which was supposed to be fleeing, trying to run away. And that it was trailing coolant, and so on, like a wounded beast and that the Cylons were gonna be smelling blood and going after the wounded battlestar, not realizing that the other battlestar was really still alive. And then eventually what was gonna happen- see now I'll just talk through the blacks 'cause I've had a Scotch. | ||
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There was a [[Cylons (RDM)|Cylon]] control center that we had structured in, in early drafts, where you'd see the Cylons in some sort of high-tech control room with data streams and things playing on their faces as they dealt with the battle up above. It was gonna be an expensive set. I didn't think it was money well spent at a certain point and these things are wildly over budget, and I just said, "You know what? Screw it. Keep 'em in ''[[Colonial One]]''. That's the nerve center of the Cylon occupation. That's where they will stay." And som- I really liked that they were picking up the phones. That they continue to pick up the phones. | There was a [[Cylons (RDM)|Cylon]] control center that we had structured in, in early drafts, where you'd see the Cylons in some sort of high-tech control room with data streams and things playing on their faces as they dealt with the battle up above. It was gonna be an expensive set. I didn't think it was money well spent at a certain point and these things are wildly over budget, and I just said, "You know what? Screw it. Keep 'em in ''[[Colonial One]]''. That's the nerve center of the Cylon occupation. That's where they will stay." And som- I really liked that they were picking up the phones. That they continue to pick up the phones. | ||
Ok. This little bit was something that I came up with in a rewrite. That, ok, ''Galactica'' can't just jump into low orbit. It's going to jump into the fucking atmosphere and fall like a rock. And that's- this is just, like, tremendous effects work. There was something really delicious about the idea of the battlestar jumping into the atmosphere. It can't | Ok. This little bit was something that I came up with in a rewrite. That, ok, ''Galactica'' can't just jump into low orbit. It's going to jump into the fucking atmosphere and fall like a rock. And that's- this is just, like, tremendous effects work. There was something really delicious about the idea of the battlestar jumping into the atmosphere. It can't manuever. It can't fly. It wasn't designed for this. It'll be a miracle if it makes it out. But it's just falling. It's just falling, and falling, and falling. And this shot, straight out into the atmosphere. I love this. This is, like, tremendous effects work by [[Gary Hutzel]] and his team. And it's just going, going, going, going. And then at the last second it jumps out. Now watch all this. This is, like, visual effects a-go-go. And we better win the fucking [[Wikipedia:Primetime Emmy Award|Emmy]] for this, this year, or I'm gonna, I swear to God. The Vipers and that- these little pickups. These are all pickup scenes here in the Viper cockpits here that we shot much later 'cause we didn't know that we- I didn't know how much time we had for this sequence and none of this was really scripted. There's the big pass-bys. Boom goes the [[Guard towers|guard tower]]. And then right in. That's just, like, tremendous work. If I do say so myself. It's just, it's great looking stuff. And then they go and they attack the- and get into the shipyard. | ||
We had some internal questions about the technical feasibility of ''Galactica'' jumping into the atmosphere and falling through the- falling like a rock through this. You could argue it either way. It's all s- it's science fiction so who knows what ''Galactica''<nowiki>'</nowiki>s made of and the structure integrity, etc., etc. My logic was, "Look. If ''Galactica'' can take hit from a nuke, and keep on moving, which we established in the [[miniseries]]. If it can take a nuke and still be ok on some level, this is a tough motherfuckin' machine." So that means if it- I can buy that it has enough structural integrity to fall through that atmosphere. It couldn't maneuver. It can't fly. That's not what it's designed to do. But I bought the idea that it could hang together long enough to just fall straight down and then launch its Vipers and then get the hell out of there. | We had some internal questions about the technical feasibility of ''Galactica'' jumping into the atmosphere and falling through the- falling like a rock through this. You could argue it either way. It's all s- it's science fiction so who knows what ''Galactica''<nowiki>'</nowiki>s made of and the structure integrity, etc., etc. My logic was, "Look. If ''Galactica'' can take hit from a nuke, and keep on moving, which we established in the [[miniseries]]. If it can take a nuke and still be ok on some level, this is a tough motherfuckin' machine." So that means if it- I can buy that it has enough structural integrity to fall through that atmosphere. It couldn't maneuver. It can't fly. That's not what it's designed to do. But I bought the idea that it could hang together long enough to just fall straight down and then launch its Vipers and then get the hell out of there. | ||
This beat of [[Samuel Anders|Anders]] finding Kara, unco- she's unconscious because, in terms of plot, you don't want him to come in right here and that she's awake and she says, "Hey, I've got [[Kacey | This beat of [[Samuel Anders|Anders]] finding Kara, unco- she's unconscious because, in terms of plot, you don't want him to come in right here and that she's awake and she says, "Hey, I've got [[Kacey|my daughter]]," and "Take her too." So this is a bit of a- this is a bit of manipulation that she's been laying unconscious all this time. | ||
This shot. Now this doesn't quite sell the story point enough 'cause we only had one visual effects shot to sell this with. The idea was after they jumped out to the atmosphere, they jump up above, and they really only jumped into pretty low orbit again, and they're, like, clawing for altitude all the way up. | This shot. Now this doesn't quite sell the story point enough 'cause we only had one visual effects shot to sell this with. The idea was after they jumped out to the atmosphere, they jump up above, and they really only jumped into pretty low orbit again, and they're, like, clawing for altitude all the way up. | ||
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Ok. Now this, I think, is a key moment. This tells me a lot about William Adama. When he knows that the end is here and he really is facing that moment, there's a moment in every person's life, or at least in every character's life, when they face death. Truly face it and truly believe that they're gonna die. How do they react? And when you answer that question you have said something fundamental about that character and who they are and what they're about. And when William Adama's answer, when he felt he's really going to die, what did he do? He stopped. He looked around to the men around him, and he said, "Gentlemen, it's been an honor." And that to me defines that character. You can't redefine the character. You can't have him face that situation and react differently again. He can face a different situation. He can have other people in jeopardy. There's situations in which he would continue to fight. But in that circumstance, when everything fell apart, he just turned to the men around him and said, "It's been an honor," and accepted it. And went out- was going to go out in a quiet way, instead of raging against the light. And I thought that that's an interesting choice. It's not the traditional way that a key- a hero reacts to these circumstances and that's really what attracted me to it. And I think as a writer you fit, especially in a tv show, you have to choose. You have to make choices and live with them. And that's a choice. That is a choice about who Adama is and when you take a character to that place and you answer that question you've now, like, rounded out the definition of that character in a very fundamental way. [[Kara Thrace|Kara]]'s answer in a similar situation would not be the same. | Ok. Now this, I think, is a key moment. This tells me a lot about William Adama. When he knows that the end is here and he really is facing that moment, there's a moment in every person's life, or at least in every character's life, when they face death. Truly face it and truly believe that they're gonna die. How do they react? And when you answer that question you have said something fundamental about that character and who they are and what they're about. And when William Adama's answer, when he felt he's really going to die, what did he do? He stopped. He looked around to the men around him, and he said, "Gentlemen, it's been an honor." And that to me defines that character. You can't redefine the character. You can't have him face that situation and react differently again. He can face a different situation. He can have other people in jeopardy. There's situations in which he would continue to fight. But in that circumstance, when everything fell apart, he just turned to the men around him and said, "It's been an honor," and accepted it. And went out- was going to go out in a quiet way, instead of raging against the light. And I thought that that's an interesting choice. It's not the traditional way that a key- a hero reacts to these circumstances and that's really what attracted me to it. And I think as a writer you fit, especially in a tv show, you have to choose. You have to make choices and live with them. And that's a choice. That is a choice about who Adama is and when you take a character to that place and you answer that question you've now, like, rounded out the definition of that character in a very fundamental way. [[Kara Thrace|Kara]]'s answer in a similar situation would not be the same. | ||
And she has to go back for [[Kacey | And she has to go back for [[Kacey|the child]]. And the chaos- I mean, it's all just this chaos of trying to get out, and who's gonna get out, and what's the time. In the middle of it, Kara has to go back. | ||
And I love this. This feeling of- this is, not quite, but this is sort of [[Wikipedia:Death of Adolf Hitler|Hitler in the bunker]]. It's the Russians are out there. We're losing. We're not gonna make it. What do we do? If you commit suicide on some level. And they're gonna nuke the city. And that there's a place for [[Gaius Baltar|Baltar]]. I mean, that was a key question. How could Baltar escape with them? Well, he's only gonna escape with them if they want him to. And that there was a sense of, yeah, well you could call it loyalty. You could call it recognition of their own shortcomings. [[Cylons (RDM)|Cylons]] are learning and changing and they have different points of view on things than they did at the beginning. The fact that they're willing for Baltar to come with them now says | And I love this. This feeling of- this is, not quite, but this is sort of [[Wikipedia:Death of Adolf Hitler|Hitler in the bunker]]. It's the Russians are out there. We're losing. We're not gonna make it. What do we do? If you commit suicide on some level. And they're gonna nuke the city. And that there's a place for [[Gaius Baltar|Baltar]]. I mean, that was a key question. How could Baltar escape with them? Well, he's only gonna escape with them if they want him to. And that there was a sense of, yeah, well you could call it loyalty. You could call it recognition of their own shortcomings. [[Cylons (RDM)|Cylons]] are learning and changing and they have different points of view on things than they did at the beginning. The fact that they're willing for Baltar to come with them now says alot. I love that the [[Felix Gaeta|Gaeta]] beat, with the gun. | ||
This is all just, again, tremendous effects work by [[Gary Hutzel|Gary]] and his team. These ships in orbit. Not all of them make it. All they have to do is just get up and rise up into the air and [[Propulsion in the Re-imagined Series#Faster than Light Travel|jump away]]. We just made- we had to set the bar low enough so everyone could get over it within the context of the world. It's like, as a writer, designing these things, you have to construct the scenario so that it's filled with jeopardy and it's scary and you don't know if the heroes are gonna make it. And you want them to make it, just by the skin of their teeth, 'cause that's the best drama, but you can't- you don't want to violate the rules that you've setup for the world. And this particular escape felt like it exists within the rules of the universe that we have set up. There's really nothing we have said in the show that means that this scenario could not work. | This is all just, again, tremendous effects work by [[Gary Hutzel|Gary]] and his team. These ships in orbit. Not all of them make it. All they have to do is just get up and rise up into the air and [[Propulsion in the Re-imagined Series#Faster than Light Travel|jump away]]. We just made- we had to set the bar low enough so everyone could get over it within the context of the world. It's like, as a writer, designing these things, you have to construct the scenario so that it's filled with jeopardy and it's scary and you don't know if the heroes are gonna make it. And you want them to make it, just by the skin of their teeth, 'cause that's the best drama, but you can't- you don't want to violate the rules that you've setup for the world. And this particular escape felt like it exists within the rules of the universe that we have set up. There's really nothing we have said in the show that means that this scenario could not work. | ||
Now [[Caprica-Six]] has already been shot once, so she certainly doesn't want to be shot by Mr. Gaeta. This may be the first time that we've seen Gaeta with a gun. This was also a scene that was- [[James Callis]] had a great influence on. One of James' ideas was that he would- as he's challenging Gaeta, it wouldn't just beg for his life, and say, "I have to save the world. Let me go save the world." It was also there was a fatalism to it and a sense of a man at the end of his rope who had done things, said things, experienced things, who was really ready to check out for the first time. And Gaius Baltar, up until this point, has never been ready to check out. He's always blinked. He's always found a way to get away from danger and his own survival, his own self-preservation instinct, always came out on top. But there's a moment here where he's- he walks up to that gun and he wants Gaeta to shoot him. And part of him, I think, really does beg for death. It wants release. That he's been tortured, he's gone through so much that the bullet through his would really end it for him and in many ways would be more | Now [[Caprica-Six]] has already been shot once, so she certainly doesn't want to be shot by Mr. Gaeta. This may be the first time that we've seen Gaeta with a gun. This was also a scene that was- [[James Callis]] had a great influence on. One of James' ideas was that he would- as he's challenging Gaeta, it wouldn't just beg for his life, and say, "I have to save the world. Let me go save the world." It was also there was a fatalism to it and a sense of a man at the end of his rope who had done things, said things, experienced things, who was really ready to check out for the first time. And Gaius Baltar, up until this point, has never been ready to check out. He's always blinked. He's always found a way to get away from danger and his own survival, his own self-preservation instinct, always came out on top. But there's a moment here where he's- he walks up to that gun and he wants Gaeta to shoot him. And part of him, I think, really does beg for death. It wants release. That he's been tortured, he's gone through so much that the bullet through his would really end it for him and in many ways would be more mercifull. And I think that was an interesting impulse on James' part. He really saw that part of the character. And James keeps us very honest about Baltar. And he's stunned. He's stunned that Gaeta let him go. That's the great thing about it. There's no victory in that moment. It's not, like, "I've convinced you and I'm gonna go save the world now." It's like, "Holy shit! You didn't shoot me. Holy shit! Really? I'm really gonna live and now I have to go disarm this nuke?" | ||
And the death of the [[Pegasus (RDM)|''Pegasus'']]. Interesting story. When I came back for, I don't remember where this was. It was before we started shooting the premiere, but I came back to the office at the Universal lot and I went back to the bungalows where my office is, and across the way, literally outside my office window on the opposite building there was a giant banner hanging out the windows that said, "Save the ''Pegasus''." It was like, "What the hell is that?" And I went up there, and turned out that our visual effects team, our in-house visual effects unit, had taken over that floor and they put this big banner outside that nobody else on the lot even knew what the hell it meant, but I could see it, and it was, "Save the ''Pegasus''," and I went up there and met the guys. And they showed me around and it was very funny and it was really endearing but we destroyed the ''Pegasus'' anyway. So goodbye ''Peggy''. This is just visual effects a-go-go. And let's just run it into one of the [[Basestar (RDM)|basestars]] was, like, an early idea. Let's really give her the heroic death. This is all a little bit out of style. This is a little- this shot, particularly, the landing pod swooping by camera with the name ''Pegasus'' and we track into the other basestar. So it takes out two basestars in its death throes. It was something Gary Hutzel wanted and advocated and I thought was great. Yeah, it's a little- it's a hyper-real idea. It's not staying pure in our documentary point of view and what would really happen. The fact that the wing flies off and smashes another ship is a complete dramatic conceit. But there's the satisfaction of that too. There's a point in the show where you don't want it to be so "real" that it leaches all the drama and all the satisfaction of it. And the death of the ''Pegasus'' you want some drama and you want some satisfaction. You really want it to feel like it was worth it. | And the death of the [[Pegasus (RDM)|''Pegasus'']]. Interesting story. When I came back for, I don't remember where this was. It was before we started shooting the premiere, but I came back to the office at the Universal lot and I went back to the bungalows where my office is, and across the way, literally outside my office window on the opposite building there was a giant banner hanging out the windows that said, "Save the ''Pegasus''." It was like, "What the hell is that?" And I went up there, and turned out that our visual effects team, our in-house visual effects unit, had taken over that floor and they put this big banner outside that nobody else on the lot even knew what the hell it meant, but I could see it, and it was, "Save the ''Pegasus''," and I went up there and met the guys. And they showed me around and it was very funny and it was really endearing but we destroyed the ''Pegasus'' anyway. So goodbye ''Peggy''. This is just visual effects a-go-go. And let's just run it into one of the [[Basestar (RDM)|basestars]] was, like, an early idea. Let's really give her the heroic death. This is all a little bit out of style. This is a little- this shot, particularly, the landing pod swooping by camera with the name ''Pegasus'' and we track into the other basestar. So it takes out two basestars in its death throes. It was something Gary Hutzel wanted and advocated and I thought was great. Yeah, it's a little- it's a hyper-real idea. It's not staying pure in our documentary point of view and what would really happen. The fact that the wing flies off and smashes another ship is a complete dramatic conceit. But there's the satisfaction of that too. There's a point in the show where you don't want it to be so "real" that it leaches all the drama and all the satisfaction of it. And the death of the ''Pegasus'' you want some drama and you want some satisfaction. You really want it to feel like it was worth it. | ||
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And now we bring the [[Leoben Conoy|Leoben]] and [[Kara Thrace|Kara]] and [[ | And now we bring the [[Leoben Conoy|Leoben]] and [[Kara Thrace|Kara]] and [[Kacey]] to its culmination. What he foretold in "[[Occupation]]" comes to pass. She will hold him in her arms, and she will tell him that she loves him, and that ultimately that's what he wanted. He wanted her to say the words. He- you could say he wanted to break her and that this on some level is him breaking her. On some level he just wanted her to fulfill that part of her destiny and she does that, and she knows it, and she realizes that this is the moment. She has to give this little bit of her soul, there's a part of Kara that would sooner die than do this, but with the child there, with the child hanging in the balance. And her need for the child. And the child's life. That Kara would give him this. And there's just a hint there on the look on [[Katee Sackhoff|Katee]]'s face, there's just a hint that maybe she- has it- has it worked? Has she gone a bit [[Wikipedia:Stockholm syndrome|Stockholm]] in the months of captivity and being this strange little hot-house environment? Did he actually get through to her? Is it all a ruse? I think the ques- it's an open question. And I think it's a complicated story and I don't think it's as simple as saying, "Oh, it's all a ruse. She's just trying to fool him." That's the easy way out. That's the way that tells you that Starbuck is still the hero and you take comfort in that as an audience by saying, "I'm comforted by the fact that she never gave an inch." Well, is it really that simple? Are people really that uncomplicated? Or do they do things that- do they feel things that maybe you don't want them to feel all the time. That maybe people say, do, and act and behave in ways that we don't always like. Because that's what people do. Because they're human. And Kara's human. And Leoben is not. | ||
And so this kiss. There's a- even as the knife comes out, which on some level Leoben expects, knows, isn't fighting. Is perfectly willing to die in this moment because he got what he wanted. Even in that moment, it's a question of who won. And was it even, like, a battle? Did he win? What did he win? Did Kara lose? What did she lose? What does this all mean? What does this symbolize? I think it's- I think these are interesting questions and I don't think it's my job, as a writer, to answer all those questions for you. I think it- I think you watch the episode and you take away from it what you will. I think you can, you can read into Kara's soul what you want to read into it. | And so this kiss. There's a- even as the knife comes out, which on some level Leoben expects, knows, isn't fighting. Is perfectly willing to die in this moment because he got what he wanted. Even in that moment, it's a question of who won. And was it even, like, a battle? Did he win? What did he win? Did Kara lose? What did she lose? What does this all mean? What does this symbolize? I think it's- I think these are interesting questions and I don't think it's my job, as a writer, to answer all those questions for you. I think it- I think you watch the episode and you take away from it what you will. I think you can, you can read into Kara's soul what you want to read into it. | ||
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{{podcastref|kaceyNotKaras}}And this. This little beat of Ka- oh my God. One last mindfuck. It wasn't her baby after all. It was just something Leoben did. It's like his final little victory. And it just plays a complete mindgame on her. I love that. (Laughs) I love that so much. 'Cause, you know what? There's a chunk of the audience that I just believe is sitting there through this whole thing going, "Oh my God. I can't believe that they went for this. That they really brought in- Kara's gonna have the baby now? What, Kara's gonna have a child? And, oh my God." And not wanted to believe it and getting a little annoyed. And then you buy into it. And then you're just- you get all the way to the end and you bought into it and then it's, like, "Nope. Guess what? It wasn't true." | {{podcastref|kaceyNotKaras}}And this. This little beat of Ka- oh my God. One last mindfuck. It wasn't her baby after all. It was just something Leoben did. It's like his final little victory. And it just plays a complete mindgame on her. I love that. (Laughs) I love that so much. 'Cause, you know what? There's a chunk of the audience that I just believe is sitting there through this whole thing going, "Oh my God. I can't believe that they went for this. That they really brought in- Kara's gonna have the baby now? What, Kara's gonna have a child? And, oh my God." And not wanted to believe it and getting a little annoyed. And then you buy into it. And then you're just- you get all the way to the end and you bought into it and then it's, like, "Nope. Guess what? It wasn't true." | ||
[[Sharon Agathon|Sharon]] back to [[Karl Agathon|Helo]]. And then the return of the man. The man, the myth. [[Saul Tigh]]. After all this time. And this I find, in a way, is one of the most emotional moments of all is just the two, these two friends, these two men who have known each other for so long, reunited, and when [[William Adama|Adama]] sees him again- last time he saw him he didn't have a beard, he had both his eyes. He was in uniform. And Tigh made it happen. Tigh brought 'em home. And Adama got 'em. And these two- these two men fulfilled what they set out to do. They made it happen. They brought [[The Fleet (RDM)|the Fleet]] back. They | [[Sharon Agathon|Sharon]] back to [[Karl Agathon|Helo]]. And then the return of the man. The man, the myth. [[Saul Tigh]]. After all this time. And this I find, in a way, is one of the most emotional moments of all is just the two, these two friends, these two men who have known each other for so long, reunited, and when [[William Adama|Adama]] sees him again- last time he saw him he didn't have a beard, he had both his eyes. He was in uniform. And Tigh made it happen. Tigh brought 'em home. And Adama got 'em. And these two- these two men fulfilled what they set out to do. They made it happen. They brought [[The Fleet (RDM)|the Fleet]] back. They brough humanity back from the brink. But there was a cost. And not everybody made it. And Adama knows. He knows exactly what he means. He knows it's Ellen. And the irony of this, I mean, there's a piece that, like, I love the fact that we have the celebration. You have them chanting his name and then he's carried on- literally carried on their shoulders. But your heart is with Tigh. You're Tigh. For the moment he's almost the forgotten man. Who's still thinking about his wife. I find that moving and I find that very human. And Kara's loss. There's a sense of loss amid the victory. The people- it's not pure. It's not a complete uplifting moment. You're happy they're home. You're grateful they made it home, but you're so aware of the cost. You're so aware of the price that so many of them paid for this- for this experiment. | ||
Now this scene coming up here on ''Colonial One'', this was actually stolen from a later episode. This was actually in the following episode. You'll notice Laura's changed her wardrobe, I believe. This was actually from the next episode, "[[Collaborators]]", and figured into that plot a little bit, that they've been looking- it was structured where they had been looking for Hera with the Fleet for whi- for a few days and had failed to come up with her. Couldn't find her. And [[Tory Foster|Tory]] was upset not just because of that but because of events that took place in "Collaborators". But that as we were trying to get "Collaborators" to time and trying to bring it down, 'cause it was also too long, this scene just kept getting cut and at some point I realized that this scene actually lived much better in "[[Exodus, Part II]]". That the emotion of it would be fresher in the "Exodus" storyline and that it would help- it would bring a completion to that story. So I- we moved it up one show. | Now this scene coming up here on ''Colonial One'', this was actually stolen from a later episode. This was actually in the following episode. You'll notice Laura's changed her wardrobe, I believe. This was actually from the next episode, "[[Collaborators]]", and figured into that plot a little bit, that they've been looking- it was structured where they had been looking for Hera with the Fleet for whi- for a few days and had failed to come up with her. Couldn't find her. And [[Tory Foster|Tory]] was upset not just because of that but because of events that took place in "Collaborators". But that as we were trying to get "Collaborators" to time and trying to bring it down, 'cause it was also too long, this scene just kept getting cut and at some point I realized that this scene actually lived much better in "[[Exodus, Part II]]". That the emotion of it would be fresher in the "Exodus" storyline and that it would help- it would bring a completion to that story. So I- we moved it up one show. | ||