Podcast:Final Cut - Revision history

Joe Beaudoin Jr.: fixing broken link

2008-07-30T04:26:30Z

fixing broken link

← Older revision		Revision as of 04:26, 30 July 2008
Line 32:		Line 32:
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_2of5.mp3 Act 1]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_2of5.mp3 Act 1]==

	The reason we opted not to do that was that we needed that epis- those early episodes to tell a great deal of other story. We had the story on [[Kobol (RDM)\|Kobol]], we had the story on [[Caprica(RDM)\|Caprica]], we had important plot story to deal with [[Laura Roslin\|Laura]], etc., on [[Galactica (RDM)\|''Galactica'']] and it just became too cumbersome to try to use that device of sticking with a reporter for the whole episode, to make it work. But, in any case, the idea of the reporter being on the ship or doing an episode from the reporter's point of view was something that we never let go of, that we just kept playing with all season long, and eventually it was like, "Well, let's do that episode. Let's do the documentary episode. Where they- we really shoot a documentary on the ship, the show is shot documentary style, the show is always trying to emulate that aesthetic and so we decided, "Let's do a real documentary." So actually, for this episode, [[Robert Young]], who directed this episode and also directed last year's "[[Six Degrees of Separation]]" is a noted documentarian. Has done many feature films and many actual documentaries in his day and will tell you fascinating stories about being with the [[Wikipedia:Eskimo\|Eskimos]] and learning their- living with them and being injured with them and doing all sorts of wild, crazy things and it felt like a natural fit to have Robert do this 'cause he understood what a documentarian was looking for and what- how the scene would be staged. What things you could possibly draw from it.		The reason we opted not to do that was that we needed that epis- those early episodes to tell a great deal of other story. We had the story on [[Kobol (RDM)\|Kobol]], we had the story on [[Caprica (RDM)\|Caprica]], we had important plot story to deal with [[Laura Roslin\|Laura]], etc., on [[Galactica (RDM)\|''Galactica'']] and it just became too cumbersome to try to use that device of sticking with a reporter for the whole episode, to make it work. But, in any case, the idea of the reporter being on the ship or doing an episode from the reporter's point of view was something that we never let go of, that we just kept playing with all season long, and eventually it was like, "Well, let's do that episode. Let's do the documentary episode. Where they- we really shoot a documentary on the ship, the show is shot documentary style, the show is always trying to emulate that aesthetic and so we decided, "Let's do a real documentary." So actually, for this episode, [[Robert Young]], who directed this episode and also directed last year's "[[Six Degrees of Separation]]" is a noted documentarian. Has done many feature films and many actual documentaries in his day and will tell you fascinating stories about being with the [[Wikipedia:Eskimo\|Eskimos]] and learning their- living with them and being injured with them and doing all sorts of wild, crazy things and it felt like a natural fit to have Robert do this 'cause he understood what a documentarian was looking for and what- how the scene would be staged. What things you could possibly draw from it.

	I felt that it was important for this kind of episode especially, to really give the writer of this episode and the director, the writer, by the way, [[Mark Verheiden]] our co-executive producer of this season, to give them as much latitude, and the actors, the writer, director, and the actors of this episode as much space to improvise and to really embroider on the characters and on the life of ''Galactica''. My mandate to everyone involved was, I kept saying, "I want to know things about these characters I didn't know before. I want to learn things that I didn't- I didn't know about these people that I created. I wanted- I want you to surprise me with who they are, really, behind the scenes. Tell me some interesting things about them." And so there's lots of little moments. There's lots of little character gestures, moments, asides, looks, and things that were not scripted but were just improvised on the set or discussed with the act- with the director.		I felt that it was important for this kind of episode especially, to really give the writer of this episode and the director, the writer, by the way, [[Mark Verheiden]] our co-executive producer of this season, to give them as much latitude, and the actors, the writer, director, and the actors of this episode as much space to improvise and to really embroider on the characters and on the life of ''Galactica''. My mandate to everyone involved was, I kept saying, "I want to know things about these characters I didn't know before. I want to learn things that I didn't- I didn't know about these people that I created. I wanted- I want you to surprise me with who they are, really, behind the scenes. Tell me some interesting things about them." And so there's lots of little moments. There's lots of little character gestures, moments, asides, looks, and things that were not scripted but were just improvised on the set or discussed with the act- with the director.

Serenity: found a possible word of the week: treacly :) "loosey-goosey" isn't bad either

2008-02-27T19:56:00Z

found a possible word of the week: treacly :) "loosey-goosey" isn't bad either

Show changes

Catrope: {{podcast data}}

2008-02-27T19:45:00Z

← Older revision		Revision as of 19:45, 27 February 2008
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	{{podcast\|~~author~~=Steelviper\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=D2}}		{{Podcast Data
			\|special=
			\|season=2
			\|episode=8
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Steelviper\|Steelviper]]
			\|verified by= [[User:Shane\|Shane]]
			\|length=
			\|finished= Y
			\|verified= Y
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==

Serenity at 18:48, 26 July 2007

2007-07-26T18:48:05Z

← Older revision		Revision as of 18:48, 26 July 2007
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	We haven't seen this set, the [[Landing Signal Officer\|LSO]] platform, since the miniseries. The landing signal officer. This is another of our touches to hearken back to the roots of the show, which is that the ''Galactica''<nowiki>'</nowiki>s an aircraft carrier. I've always wondered why- I wanted a logical reason why they came in like this. Why they came in moving at full tilt and having to make a carrier-like landing. When it's space, they could just plow in and hit the brakes and float down. Much like you saw [[Lee Adama\|Lee]] do in the miniseries, the first, but my rationale is these are [[combat landing]]s. Like every landing on ''Galactica''<nowiki>'</nowiki>s a combat landing. That's the rule. They're all hands-on approaches. They're all combat landings which means they have to come flying into that deck and stop and land and not do nice soft slow pirouettes in space 'cause they're coming in and landing 'cause the [[Cylons (RDM)\|Cylons]] are on their ass. And that's the way they have to land their craft.		We haven't seen this set, the [[Landing Signal Officer\|LSO]] platform, since the miniseries. The landing signal officer. This is another of our touches to hearken back to the roots of the show, which is that the ''Galactica''<nowiki>'</nowiki>s an aircraft carrier. I've always wondered why- I wanted a logical reason why they came in like this. Why they came in moving at full tilt and having to make a carrier-like landing. When it's space, they could just plow in and hit the brakes and float down. Much like you saw [[Lee Adama\|Lee]] do in the miniseries, the first, but my rationale is these are [[combat landing]]s. Like every landing on ''Galactica''<nowiki>'</nowiki>s a combat landing. That's the rule. They're all hands-on approaches. They're all combat landings which means they have to come flying into that deck and stop and land and not do nice soft slow pirouettes in space 'cause they're coming in and landing 'cause the [[Cylons (RDM)\|Cylons]] are on their ass. And that's the way they have to land their craft.

	A lot of the dialogue here, a lot of the dialogue between the LSO and the pilot was contributed, I believe, by [[David Weddle\|David]] and [[Bradley Thompson\|Bradley]], who specialize in that sort of verisimilitude in our military jargon and probably with some consultation to our military consultant. You might have noticed that several of the little subtitles that show people's names and ranks and what have you in the show have a couple of acronyms after them. For those of you who obssess upon these sorts of things and [[Main Page\|you know who you are]], stands, quite simply, for Colonial- CF is [[Colonial Fleet]]. CFR is Colonial Fleet Reserve. CMC is [[Colonial Marine Corps]] and then CMCR is Colonial Marine Corps Reserves. So you can write that down and add that to your book of tricks. I- it was interesting as I was going through those and just wanted- I just arbitrarily decided that I wanted to have that designation and make a distinction between the regular and the reserve people. 'Cause I wanted to remind- remind us of the importance of the reserves. People that were in the armed forces who weren't necesarily thinking of making it a career for the rest of their lives and who are caught up in this and it becomes their career for the rest of their lives. Interesting enough, there are people like Lee Adama, who has an "R" after his. That's based on the notion, quite often the Navy, the ROTC program, the Navy, the Army, and the Air Force have one, is a reserve program. The idea is you go into the service and serve active duty for like four years, six years, whatever you commit to, depending on the program you're in and then after that you're- you take a commission in the reserves unless you are offered a commission as a regular serving officer. And so I thought someone like Lee Adama essentially went in like that and was heading for the reserves at some point and who knows how long the wait is in ''Galactica''<nowiki>'</nowiki>s world or what the minimum service or any of that jazz is. But the point was that Lee was not somebody who was on the full career path. In early versions of the, or not even early versions, sorry, in the show bible I stroked out Lee's backstory saying he was a test pilot. He was going a different route from his father in that his father's a- wanted to command a battlestar, obviously, all his life and Lee didn't want to do that and Lee was going to pursue a different path. A more solitary path and become a test pilot. That kinda changed over the course of the last two seasons. We kinda- as we got deeper into the character and always like the idea that Lee was not- very much did not want to follow in his father's footsteps, but he'd gone- he'd gone far enough to be a pilot and sort of did that out of certain notions of obligation and duty and service and all that that he did, he does, share with his father, but at some point he did not really want to make this his life. And so we tossed around ideas like that Lee- Lee's dream or real life dream was that he was going to leave the service and go open a little bar someplace. And he had sort of done his military thing, and been a pilot, and found the life not as satisfying as he wanted it to be. Didn't find anything in it for him, per se, other than he was a good pilot and good at it. There was an emptiness and that he wanted to leave and just open a little bar someplace. And in a way, running away. In a way, hiding from his father, his life, and the life he thought he should have had.		A lot of the dialogue here, a lot of the dialogue between the LSO and the pilot was contributed, I believe, by [[David Weddle\|David]] and [[Bradley Thompson\|Bradley]], who specialize in that sort of verisimilitude in our military jargon and probably with some consultation to our military consultant. You might have noticed that several of the little subtitles that show people's names and ranks and what have you in the show have a couple of acronyms after them. For those of you who obssess upon these sorts of things and [[Main Page\|you know who you are]], stands, quite simply, for Colonial- CF is [[Colonial Fleet (RDM)\|Colonial Fleet]]. CFR is Colonial Fleet Reserve. CMC is [[Colonial Marine Corps]] and then CMCR is Colonial Marine Corps Reserves. So you can write that down and add that to your book of tricks. I- it was interesting as I was going through those and just wanted- I just arbitrarily decided that I wanted to have that designation and make a distinction between the regular and the reserve people. 'Cause I wanted to remind- remind us of the importance of the reserves. People that were in the armed forces who weren't necesarily thinking of making it a career for the rest of their lives and who are caught up in this and it becomes their career for the rest of their lives. Interesting enough, there are people like Lee Adama, who has an "R" after his. That's based on the notion, quite often the Navy, the ROTC program, the Navy, the Army, and the Air Force have one, is a reserve program. The idea is you go into the service and serve active duty for like four years, six years, whatever you commit to, depending on the program you're in and then after that you're- you take a commission in the reserves unless you are offered a commission as a regular serving officer. And so I thought someone like Lee Adama essentially went in like that and was heading for the reserves at some point and who knows how long the wait is in ''Galactica''<nowiki>'</nowiki>s world or what the minimum service or any of that jazz is. But the point was that Lee was not somebody who was on the full career path. In early versions of the, or not even early versions, sorry, in the show bible I stroked out Lee's backstory saying he was a test pilot. He was going a different route from his father in that his father's a- wanted to command a battlestar, obviously, all his life and Lee didn't want to do that and Lee was going to pursue a different path. A more solitary path and become a test pilot. That kinda changed over the course of the last two seasons. We kinda- as we got deeper into the character and always like the idea that Lee was not- very much did not want to follow in his father's footsteps, but he'd gone- he'd gone far enough to be a pilot and sort of did that out of certain notions of obligation and duty and service and all that that he did, he does, share with his father, but at some point he did not really want to make this his life. And so we tossed around ideas like that Lee- Lee's dream or real life dream was that he was going to leave the service and go open a little bar someplace. And he had sort of done his military thing, and been a pilot, and found the life not as satisfying as he wanted it to be. Didn't find anything in it for him, per se, other than he was a good pilot and good at it. There was an emptiness and that he wanted to leave and just open a little bar someplace. And in a way, running away. In a way, hiding from his father, his life, and the life he thought he should have had.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_4of5.mp3 Act 3]==

Catrope: fix episode numbering

2007-04-30T17:02:13Z

fix episode numbering

← Older revision		Revision as of 17:02, 30 April 2007
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	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=N}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=D2}}
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==

Mercifull: adding podcast list

2007-04-19T11:22:33Z

adding podcast list

← Older revision		Revision as of 11:22, 19 April 2007
Line 93:		Line 93:

	And that's "[[Final Cut]]". So thank you for listening and I'll be talking to you soon.		And that's "[[Final Cut]]". So thank you for listening and I'll be talking to you soon.

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T19:59:54Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 19:59, 13 April 2007
Line 14:		Line 14:
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_2of5.mp3 Act 1]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_2of5.mp3 Act 1]==

	The reason we opted not to do that was that we needed that epis- those early episodes to tell a great deal of other story. We had the story on [[Kobol]], we had the story on [[The Twelve Colonies (RDM)#Caprica\|Caprica]], we had important plot story to deal with [[Laura Roslin\|Laura]], etc., on [[Galactica (RDM)\|''Galactica'']] and it just became too cumbersome to try to use that device of sticking with a reporter for the whole episode, to make it work. But, in any case, the idea of the reporter being on the ship or doing an episode from the reporter's point of view was something that we never let go of, that we just kept playing with all season long, and eventually it was like, "Well, let's do that episode. Let's do the documentary episode. Where they- we really shoot a documentary on the ship, the show is shot documentary style, the show is always trying to emulate that aesthetic and so we decided, "Let's do a real documentary." So actually, for this episode, [[Robert Young]], who directed this episode and also directed last year's "[[Six Degrees of Separation]]" is a noted documentarian. Has done many feature films and many actual documentaries in his day and will tell you fascinating stories about being with the [[Wikipedia:Eskimo\|Eskimos]] and learning their- living with them and being injured with them and doing all sorts of wild, crazy things and it felt like a natural fit to have Robert do this 'cause he understood what a documentarian was looking for and what- how the scene would be staged. What things you could possibly draw from it.		The reason we opted not to do that was that we needed that epis- those early episodes to tell a great deal of other story. We had the story on [[Kobol (RDM)\|Kobol]], we had the story on [[The Twelve Colonies (RDM)#Caprica\|Caprica]], we had important plot story to deal with [[Laura Roslin\|Laura]], etc., on [[Galactica (RDM)\|''Galactica'']] and it just became too cumbersome to try to use that device of sticking with a reporter for the whole episode, to make it work. But, in any case, the idea of the reporter being on the ship or doing an episode from the reporter's point of view was something that we never let go of, that we just kept playing with all season long, and eventually it was like, "Well, let's do that episode. Let's do the documentary episode. Where they- we really shoot a documentary on the ship, the show is shot documentary style, the show is always trying to emulate that aesthetic and so we decided, "Let's do a real documentary." So actually, for this episode, [[Robert Young]], who directed this episode and also directed last year's "[[Six Degrees of Separation]]" is a noted documentarian. Has done many feature films and many actual documentaries in his day and will tell you fascinating stories about being with the [[Wikipedia:Eskimo\|Eskimos]] and learning their- living with them and being injured with them and doing all sorts of wild, crazy things and it felt like a natural fit to have Robert do this 'cause he understood what a documentarian was looking for and what- how the scene would be staged. What things you could possibly draw from it.

	I felt that it was important for this kind of episode especially, to really give the writer of this episode and the director, the writer, by the way, [[Mark Verheiden]] our co-executive producer of this season, to give them as much latitude, and the actors, the writer, director, and the actors of this episode as much space to improvise and to really embroider on the characters and on the life of ''Galactica''. My mandate to everyone involved was, I kept saying, "I want to know things about these characters I didn't know before. I want to learn things that I didn't- I didn't know about these people that I created. I wanted- I want you to surprise me with who they are, really, behind the scenes. Tell me some interesting things about them." And so there's lots of little moments. There's lots of little character gestures, moments, asides, looks, and things that were not scripted but were just improvised on the set or discussed with the act- with the director.		I felt that it was important for this kind of episode especially, to really give the writer of this episode and the director, the writer, by the way, [[Mark Verheiden]] our co-executive producer of this season, to give them as much latitude, and the actors, the writer, director, and the actors of this episode as much space to improvise and to really embroider on the characters and on the life of ''Galactica''. My mandate to everyone involved was, I kept saying, "I want to know things about these characters I didn't know before. I want to learn things that I didn't- I didn't know about these people that I created. I wanted- I want you to surprise me with who they are, really, behind the scenes. Tell me some interesting things about them." And so there's lots of little moments. There's lots of little character gestures, moments, asides, looks, and things that were not scripted but were just improvised on the set or discussed with the act- with the director.

Steelviper: + season, episode variables

2007-02-27T21:10:30Z

+ season, episode variables

← Older revision		Revision as of 21:10, 27 February 2007
Line 1:		Line 1:
	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=N}}
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_1of5.mp3 Teaser]==

Joe Beaudoin Jr.: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_4of5.mp3 Act 3] */ fixing launch tubes link

2007-01-08T04:57:43Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_4of5.mp3 Act 3]: fixing launch tubes link

← Older revision		Revision as of 04:57, 8 January 2007
Line 56:		Line 56:
	This sequence coming up here, where they're about to run out of the room when the attack begins. I thought it was very important to try, if we're going to maintain this notion of being with the documentary crew, and trying to understand [[Galactica (RDM)\|''Galactica'']] through their eyes, part of the story was to stay inside the ship during an attack. To hear it out there someplace. To be with the people who have to stay behind and listen over the wireless to the battle being fought out there somewhere. Where friends of theirs may be killed. Where the [[Cylon Raider (RDM)\|Cylon Raider]] may get through and get all the way to ''Galactica'' this time. Maybe this will be the time when you die. Maybe some of your friends aren't gonna make it. And there are those moments of almost helplessness of being- just having to stand there and wait. Particularly you'll see the people down in the [[hangar deck]]. They've launched their birds, prepped the deck for incoming, and then they just have to- they wait. And they listen. And so we deliberately designed this episode to not have that kind of visual effects budget. It was a good way to save visual effects money. [[Gary Hutzel]] and company were very pleased to give ways to spend money in other places. And there was a point where we had a later discussion, "Well, maybe we should put some shots of the [[Viper (RDM)\|Viper]]s and the [[Cylons (RDM)\|Cylons]]. And maybe we should have a stock shot or two." And I was just very against it. I just felt like you're either buying into this concept, or you're not. And if you're buying into the concept and you're with us at this point in the episode and you're invested in the documentary notion and idea, that you would then go with us into this aesthetic- or go with us into this world through their eyes and be there in the moment. The whole idea is to be there in the moment. To be with them when it happens. Not to be jumping out and showing things that they couldn't have seen and essentially taking the audience's point of view. The idea is you've walked into this room. You have walked into [[CIC]] in a moment of crisis and this is all you would see. You wouldn't be jump- you wouldn't see the pretty shots of the Vipers and you wouldn't see the exciting misses and explosions and whatever. This would be your world. This is what it would be like to be on ''Galactica'' during an attack.		This sequence coming up here, where they're about to run out of the room when the attack begins. I thought it was very important to try, if we're going to maintain this notion of being with the documentary crew, and trying to understand [[Galactica (RDM)\|''Galactica'']] through their eyes, part of the story was to stay inside the ship during an attack. To hear it out there someplace. To be with the people who have to stay behind and listen over the wireless to the battle being fought out there somewhere. Where friends of theirs may be killed. Where the [[Cylon Raider (RDM)\|Cylon Raider]] may get through and get all the way to ''Galactica'' this time. Maybe this will be the time when you die. Maybe some of your friends aren't gonna make it. And there are those moments of almost helplessness of being- just having to stand there and wait. Particularly you'll see the people down in the [[hangar deck]]. They've launched their birds, prepped the deck for incoming, and then they just have to- they wait. And they listen. And so we deliberately designed this episode to not have that kind of visual effects budget. It was a good way to save visual effects money. [[Gary Hutzel]] and company were very pleased to give ways to spend money in other places. And there was a point where we had a later discussion, "Well, maybe we should put some shots of the [[Viper (RDM)\|Viper]]s and the [[Cylons (RDM)\|Cylons]]. And maybe we should have a stock shot or two." And I was just very against it. I just felt like you're either buying into this concept, or you're not. And if you're buying into the concept and you're with us at this point in the episode and you're invested in the documentary notion and idea, that you would then go with us into this aesthetic- or go with us into this world through their eyes and be there in the moment. The whole idea is to be there in the moment. To be with them when it happens. Not to be jumping out and showing things that they couldn't have seen and essentially taking the audience's point of view. The idea is you've walked into this room. You have walked into [[CIC]] in a moment of crisis and this is all you would see. You wouldn't be jump- you wouldn't see the pretty shots of the Vipers and you wouldn't see the exciting misses and explosions and whatever. This would be your world. This is what it would be like to be on ''Galactica'' during an attack.

	I like that shot alot. We don't play the [[launch tubes]] nearly enough. I don't know why. It's just one of those things that we don't tend to play. There's parts of sets that you always- when you walk down on the set you go, "Oh my god! Why haven't we shown this very much?" And usually there's something about the staging or scenes don't play out naturally. The launch tube is a great looking set but there's just not a lot of logical times when you'd be just standing out- hangin' out in there talking and playing a scene so as a result you tend not to be in the launch tube very often.		I like that shot alot. We don't play the [[launch tubes (RDM)\|launch tubes]] nearly enough. I don't know why. It's just one of those things that we don't tend to play. There's parts of sets that you always- when you walk down on the set you go, "Oh my god! Why haven't we shown this very much?" And usually there's something about the staging or scenes don't play out naturally. The launch tube is a great looking set but there's just not a lot of logical times when you'd be just standing out- hangin' out in there talking and playing a scene so as a result you tend not to be in the launch tube very often.

	This is the sequence I was talking about earlier. We went- we used as much of the documentary footage as we could possibly use in these sequences. But there was so much happening, so many people moving around. So much action, so many actors that we cover that there were just many times when I wanted to use Lucy's camera right there where you saw her run up. Unfortunately it wasn't usable. There was a member of the film crew standing in the shot in a t-shirt and jeans and there's just, it's tv. There's only so much you can do. And it's amazing what you can do, given the limitations of producing these kinds of shows. You can really, really do interesting work like this. Yeah, it's not as good as it could be and there's always- I'm always critical and "I wish we had done this differently. If I had another pass at it I would change this or that." But this is a great sequence and it's an interesting show. You just shouldn't be afraid to try new things. If you're going to be in this business, if you're going to write television or produce television, you're going to be involved in television, or film, or any of these, anything that where you're providing entertainment, I think you have to be willing to take risk. I think you have to be willing to commit to concepts that may not work. You have to be willing to try things that nobody else has tried. You have to be willing to fail. You have to be willing to accept coming up short. And the trick is to never be satisfied with playing it safe with- never being satisfied just doing what everybody else does.		This is the sequence I was talking about earlier. We went- we used as much of the documentary footage as we could possibly use in these sequences. But there was so much happening, so many people moving around. So much action, so many actors that we cover that there were just many times when I wanted to use Lucy's camera right there where you saw her run up. Unfortunately it wasn't usable. There was a member of the film crew standing in the shot in a t-shirt and jeans and there's just, it's tv. There's only so much you can do. And it's amazing what you can do, given the limitations of producing these kinds of shows. You can really, really do interesting work like this. Yeah, it's not as good as it could be and there's always- I'm always critical and "I wish we had done this differently. If I had another pass at it I would change this or that." But this is a great sequence and it's an interesting show. You just shouldn't be afraid to try new things. If you're going to be in this business, if you're going to write television or produce television, you're going to be involved in television, or film, or any of these, anything that where you're providing entertainment, I think you have to be willing to take risk. I think you have to be willing to commit to concepts that may not work. You have to be willing to try things that nobody else has tried. You have to be willing to fail. You have to be willing to accept coming up short. And the trick is to never be satisfied with playing it safe with- never being satisfied just doing what everybody else does.

Steelviper: minor changes from double-check, linkified

2006-09-05T17:37:28Z

minor changes from double-check, linkified

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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/208/bsg_ep208_5of5.mp3 Act 4]==

	And we're back. ~~And~~ you can see the cd he's got, or the dvd, whatever their optical disks are, it has the corners clipped off as well. (Chuckles.) God knows how they spin in the disc drives. But, yeah these ~~peoplea~~ are obsessed with... they hate corners. They really hate- they hate the rectangle and the square.		And we're back. Oh, and you can see the cd he's got, or the dvd, whatever their optical disks are, it has the corners clipped off as well. (Chuckles.) God knows how they spin in the disc drives. But, yeah these people are obsessed with... [[Arts and Literature of the Twelve Colonies#Aesthetics\|they hate corners]]. They really hate- they hate the rectangle and the square.

	This is just classic bit. Tv plotting. And there's nothing wro- I shouldn't say- that sounds so dripping with contempt. It's not that bad and it's ok and Mark did a great job doing it and I supported this all wholeheartedly. There's just a part of me that wishes that you could get away with not doing it.		This is just classic bit. Tv plotting. And there's nothing wro- I shouldn't say- that sounds so dripping with contempt. It's not that bad and it's ok and [[Mark Verheiden\|Mark]] did a great job doing it and I supported this all wholeheartedly. There's just a part of me that wishes that you could get away with not doing it.

	This scene with Palladino and Tigh changed several times in editing and on the page. In the first, in the original draft, the ~~marines~~ came in, the confrontation was over, and Palladino shot himself. And there was a feeling that that was too much in this particular episode. That it wasn't an earned... that it was gratuitous. I think you could make the argument either way. I think you can argue that him shooting himself was an act- a true act of contrition in his mind and that he paid a price that he felt somebody had to pay and that there was a poignancy to that and there was a certain truth to that. I think you can also make the argument, as was made, it was just gratuitous ~~and~~ it was introducing a dark element in the show just for the sake of introducing a dark element into the show. Ultimately that's the argument that carried the day. So we went for this. This is a little bit more of a talk-down. I kinda like that shot, though. Kinda like the guy leaning into the gun.		This scene with [[Joe Palladino\|Palladino]] and [[Saul Tigh\|Tigh]] changed several times in editing and on the page. In the first, in the original draft, the [[Colonial Marine Corps\|Marines]] came in, the confrontation was over, and Palladino shot himself. And there was a feeling that that was too much in this particular episode. That it wasn't an earned... that it was gratuitous. I think you could make the argument either way. I think you can argue that him shooting himself was an act- a true act of contrition in his mind and that he paid a price that he felt somebody had to pay and that there was a certain poignancy to that and there was a certain truth to that. I think you can also make the argument, as was made, it was just gratuitous, that it was introducing a dark element in the show just for the sake of introducing a dark element into the show. Ultimately that's the argument that carried the day. So we went for this. This is a little bit more of a talk-down. I kinda like that shot, though. Kinda like the guy leaning into the gun.

	Oh, yeah. Every time I used to watch this scene in editing when Tigh came into the room and looked down and ~~then it~~'s that shot of Ellen lying bound and gagged on the floor looking up at him I kept wanting to just dub in the line where he just says, "Ellen, not tonight." (Laughs.)		Oh, yeah. Every time I used to watch this scene in editing when Tigh came into the room and looked down and there's that shot of [[Ellen Tigh\|Ellen]] lying bound and gagged on the floor looking up at him I kept wanting to just dub in the line where he just says, "Ellen, not tonight." (Laughs.)

	We played several times with the exact moment when you should realize that- or when Lucy and the Marines come in and we opted to slide it down the line to where it is now so they come in just after the situation's been resolved. It used to be- we actually had a version where she came in early and got the whole thing on tape and that was part of the documentary and that just felt a little arch and just felt a little phony that she was standing there with the Marines in the moment. Then the Marines didn't do anything, they just let her keep filming ~~something~~.		We played several times with the exact moment when you should realize that- or when [[Lucy Lawless\|Lucy]] and the Marines come in and we opted to slide it down the line to where it is now so they come in just after the situation's been resolved. It used to be- we actually had a version where she came in early and got the whole thing on tape and that was part of the documentary and that just felt a little arch and it just felt a little phony that she was standing there with the Marines in the moment. Then the Marines didn't do anything, they just let her keep filming so...

	Kat has turned out to be one of our best characters. I really enjoy Kat. I enjoy- I love the fact that we brought her aboard in "[[Act of Contrition]]" as one of the ~~nuggets~~, one of the new pilots, and we've stuck with her and she stuck with us and you've seen the growth of that character where she's a experienced combat pilot and then she's having problems taking stims. Where it just gets away from her. Not out of any great, deep psychological hurt from her childhood but just the pressure got to her. And she started taking the stims and started taking them a little bit too often. And it caught up with her.		[[Louanne Katraine\|Kat]] has turned out to be one of our best characters. I really enjoy Kat. I enjoy- I love the fact that we brought her aboard in "[[Act of Contrition]]" as one of the [[nugget]]s, one of the new pilots, and we've stuck with her and she stuck with us and you've seen the growth of that character where she's a experienced combat pilot and then she's having problems taking [[stims]]. Where it just gets away from her. Not out of any great, deep psychological hurt from her childhood but just the pressure got to her. And she started taking the stims and started taking them a little bit too often. And it caught up with her.

	Used to be Adama who said, "I've seen enough." In earlier versions it was Adama who said, "I've seen enough." And same thing. They have the same basic conversation. At the end he's- he just says, "I don't need to see anything more," and left. There was something interesting about him just saying, "You know what? I've seen it. I get it. I trust you. I'm outta here." And he walked out. It just seemed to fly in the face of reality (chuckles) to Eddie. Eddie's "I wouldn't walk out. I'd stay and see how the movie ends." And of course he would. Which is one of those moments where you just go, "Yeah. Ok." You're pushing dramatic moment of, "Ah, I don't have to see it. I can just walk out." It pushes it past the point of reality.		Used to be [[William Adama\|Adama]] who said, "I've seen enough." In earlier versions it was Adama who said, "I've seen enough." And same thing. They have the same basic conversation. At the end he's- he just says, "I don't need to see anything more," and left. There was something interesting about him just saying, "You know what? I've seen it. I get it. I trust you. I'm outta here." And he walked out. It just seemed to fly in the face of reality (chuckles) to [[Edward James Olmos\|Eddie]]. Eddie's "I wouldn't walk out. I'd stay and see how the movie ends." And of course he would. Which is one of those moments where you just go, "Yeah. Ok." You're pushing dramatic moment of, "Ah, I don't have to see it. I can just walk out." It pushes it past the point of reality.

	And I like the fact that the documentary was going to sh- that Adama looked at the piece objectively. And looked at it and said, "You know what? This is who we are. And show people who we really are. Don't have to glorify, you don't have to really milk it. You just have to show them for who they are. That they're- they're flawed."		And I like the fact that the documentary was going to sh- that Adama looked at the piece objectively. And looked at it and said, "You know what? This is who we are. And show people who we really are. Don't have to glorify, you don't have to really milk it. You just have to show them for who they are. That they're- they're flawed."

	This whole last bit of narration was something I wrote in post as we were going through the footage and I just wanted to give the thesis of the show. These are deeply flawed people. And they're human. And maybe that's saying the same thing. And that there's a nobility to these people. There's a heroism to these people who are flawed and screwed up and dysfunctional and deeply human. And they get up every day and they go out and they do their jobs and they hold off the Cylons and they protect the Fleet and they keep doing it and they don't quit. And despite everything that you've seen in the series, despite all their flaws and all their infighting and all their deeply human, sometime deeply bad, choices in their lives that they are the protectors. They are the guardians of the Fleet. They take that job very seriously. And they do it every day. And they never try to shirk it. And that is ultimately the thing that sets them apart and makes them special. What would you do if you wore the uniform?		This whole last bit of narration was something I wrote in post as we were going through the footage and I just wanted to give the thesis of the show. These are deeply flawed people. And they're human. And maybe that's saying the same thing. And that there's a nobility to these people. There's a heroism to these people who are flawed and screwed up and dysfunctional and deeply human. And they get up every day and they go out and they do their jobs and they hold off the [[Cylons (RDM)\|Cylons]] and they protect [[The Fleet (RDM)\|the Fleet]] and they keep doing it and they don't quit. And despite everything that you've seen in the series, despite all their flaws and all their infighting and all their deeply human, sometime deeply bad, choices in their lives that they are the protectors. They are the guardians of the Fleet. They take that job very seriously. And they do it every day. And they never try to shirk it. And that is ultimately the thing that sets them apart and makes them special. What would you do if you wore the [[Uniforms (RDM)\|uniform]]?

	This is one of the few times, you'll note, that we have seen video monitors in the show. It was an important- oh, this is great (Chuckles) use of the Battlestar- "The Original Battlestar Galactica Theme." He starts whistling it then the music comes in and the crowd goes wild. Some will curse us for using it. How sacrilegious, but I kinda like it. ~~There's something~~ very sweet about it.		This is one of the few times, you'll note, that we have seen video monitors in the show. It was an important- oh, this is great (Chuckles) use of the Battlestar- "[[Battlestar Galactica (TOS)\|The Original Battlestar Galactica]] Theme." He starts whistling it then the music comes in and the crowd goes wild. Some will curse us for using it. How sacrilegious, but I kinda like it. Something very sweet about it.

	Oh, and this. This may be- I think this is my favorite ending so far. This is such a great reveal. When I'm watching the show, and I'm sitting here watching it for the umpteenth time, I forget about the end. I forget that she's a Cylon. It's just- that's- it's so great. It's like you really are sucked into the show. You're really sucked into the story and watching the images and you just, no matter how many times I've seen this show, I always get up to this moment and forget that D'anna is a Cylon. It's such a great, unexpected twist. And there's just- it just lays in there so nicely and so well. And it's like you're just watching this great uplifting episode and you're just, like, "Wow," and then there's one surprise coming. Instead of the surprise, and then the surprise, and then the surprise like something out of a Cameron film where there's the ending, after ending, after ending. Which is fine, and I love those films. But there's something great about not even suggesting to the audience that there's gonna be a surprise. That there's just- that you've ~~see~~ the show and you feel very safe and comfortable in everything you've just watched and then (snaps) to zing 'em in the last minute. I think that's great.		Oh, and this. This may be- I think this is my favorite ending so far. This is such a great reveal. When I'm watching the show, and I'm sitting here watching it for the umpteenth time, I forget about the end. I forget that she's a Cylon. It's just- that's- it's so great. It's like you really are sucked into the show. You're really sucked into the story and watching the images and you just, no matter how many times I've seen this show, I always get up to this moment and forget that [[Number Three\|D'anna]] is a Cylon. It's such a great, unexpected twist. And there's just- it just lays in there so nicely and so well. And it's like you're just watching this great uplifting episode and you're just, like, "Wow," and then there's one surprise coming. Instead of the surprise, and then the surprise, and then the surprise like something out of a [[imdb:nm0000116\|Cameron]] film where there's the ending, after ending, after ending. Which is fine, and I love those films. But there's something great about not even suggesting to the audience that there's gonna be a surprise. That there's just- that you've seen the show and you feel very safe and comfortable in everything you've just watched and then (snaps) to zing 'em in the last minute. I think that's great.

	And that's "Final Cut". So thank you for listening and I'll ~~(unidentified noises)~~ talking to you soon.		And that's "[[Final Cut]]". So thank you for listening and I'll be talking to you soon.