Podcast:Flight of the Phoenix - Revision history

Joe Beaudoin Jr.: fixing broken link

2008-07-30T04:26:17Z

fixing broken link

← Older revision		Revision as of 04:26, 30 July 2008
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	I love the card game scene a lot, I really liked [[Margaret Edmondson\|Racetrack]], I'm really intrigued with the way Racetrack has become one of our members of our family. I've commented on this before, the way that many of the supporting players that came on just for a role here and a role there then expanded and have become part of the life-blood of the show. Racetrack was just going to be the temporary [[ECO]] in "[[Kobol's Last Gleaming]]" last year, [[Sharon Valerii\|Sharon]] needed to ride with somebody, let her ride with- well call her Racetrack, and now Racetrack is like a full blown character for us which I think is just great and it's a real salute to the quality of casting that we're able to do, the dynamics down on the show.		I love the card game scene a lot, I really liked [[Margaret Edmondson\|Racetrack]], I'm really intrigued with the way Racetrack has become one of our members of our family. I've commented on this before, the way that many of the supporting players that came on just for a role here and a role there then expanded and have become part of the life-blood of the show. Racetrack was just going to be the temporary [[ECO]] in "[[Kobol's Last Gleaming]]" last year, [[Sharon Valerii\|Sharon]] needed to ride with somebody, let her ride with- well call her Racetrack, and now Racetrack is like a full blown character for us which I think is just great and it's a real salute to the quality of casting that we're able to do, the dynamics down on the show.

	In any case back to Helo and Tyrol, we talked at length what they would do when these two finally got together, and you start with the most obvious idea is- the one that we ended up with which is that they fight. You started with that- you start saying 'okay let's not do that, let's try something else, what else would they do?' We talked about versions where they saw each other in the Rec Room or at some social situation, eyed each other, there was a hard look and not much more, there was a point where Tyrol came and sat down with Helo and said some things that were completely off-point, just man-talk about something else but there was a mutually understood feeling of what was really going on. We tried versions of that but none of them were really that satisfying because on some level you knew that the thing that was most in character for these two men based on the people that we had seen them be, him down on [[Caprica(RDM)\|Caprica]] and Tyrol dealing with people on [[Galactica (RDM)\|Galactica]] and [[Kobol (RDM)\|Kobol]], that there's a lot of rage and a lot of frustration and a lot of self-hatred and ambiguity in both these men over the choices that they've made, over the people that they've chosen to send- give their hearts to and the fact that they've now come face-to-face with the representational other of themselves. How could you not wanna beat the crap out of him?		In any case back to Helo and Tyrol, we talked at length what they would do when these two finally got together, and you start with the most obvious idea is- the one that we ended up with which is that they fight. You started with that- you start saying 'okay let's not do that, let's try something else, what else would they do?' We talked about versions where they saw each other in the Rec Room or at some social situation, eyed each other, there was a hard look and not much more, there was a point where Tyrol came and sat down with Helo and said some things that were completely off-point, just man-talk about something else but there was a mutually understood feeling of what was really going on. We tried versions of that but none of them were really that satisfying because on some level you knew that the thing that was most in character for these two men based on the people that we had seen them be, him down on [[Caprica (RDM)\|Caprica]] and Tyrol dealing with people on [[Galactica (RDM)\|Galactica]] and [[Kobol (RDM)\|Kobol]], that there's a lot of rage and a lot of frustration and a lot of self-hatred and ambiguity in both these men over the choices that they've made, over the people that they've chosen to send- give their hearts to and the fact that they've now come face-to-face with the representational other of themselves. How could you not wanna beat the crap out of him?

	The moment of him reaching for the wrench is really interesting and telling about just how far the rage has built in these men. Actually I got a note from one of the writers of this episode, [[Bradley Thompson]] and his partner [[David Weddle]] who wrote this episode, and they objected to that moment and I must say in their defense I completely understand why they object to that moment because it really says something pretty bad about Tyrol, which is why I like it of course. I like the fact that Tyrol for a moment lost himself in that- he's been drinking, he lost himself- he picked up that wrench and for a moment really thought about caving in Helo's skull with it. And there's a seduction to that and there's a pull to that and it's an emotion that I think that the character would genuinely feel in those circumstances. There's a truth to it, ultimately that's why we went with the fight, there's a truth to it, I just believe it, I believe that that's what those two men would do.		The moment of him reaching for the wrench is really interesting and telling about just how far the rage has built in these men. Actually I got a note from one of the writers of this episode, [[Bradley Thompson]] and his partner [[David Weddle]] who wrote this episode, and they objected to that moment and I must say in their defense I completely understand why they object to that moment because it really says something pretty bad about Tyrol, which is why I like it of course. I like the fact that Tyrol for a moment lost himself in that- he's been drinking, he lost himself- he picked up that wrench and for a moment really thought about caving in Helo's skull with it. And there's a seduction to that and there's a pull to that and it's an emotion that I think that the character would genuinely feel in those circumstances. There's a truth to it, ultimately that's why we went with the fight, there's a truth to it, I just believe it, I believe that that's what those two men would do.

Serenity at 20:00, 27 February 2008

2008-02-27T20:00:43Z

Show changes

Catrope: {{podcast data}}

2008-02-27T19:50:19Z

← Older revision		Revision as of 19:50, 27 February 2008
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	{{podcast\|~~author~~=Misco\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=E}}		{{Podcast Data
			\|special=
			\|season=2
			\|episode=9
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Misco\|Misco]]
			\|verified by= [[User:Steelviper\|Steelviper]]
			\|length=
			\|finished= Y
			\|verified= Y
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_1of5.mp3 Teaser]==

Catrope: God --> God (RDM)

2007-06-21T14:34:01Z

God --> God (RDM)

← Older revision		Revision as of 14:34, 21 June 2007
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_5of5.mp3 Act 4]==

	[[Sharon Valerii\|Sharon's]] whole gag here of putting the conduit in her arm, as I said earlier, is something that I just came up with out of a frustration to not do another space battle. But what I also liked about it that I felt it was consistent with what we'd wanted to say about the [[Cylons (RDM)\|Cylons]] right along, that there was this interesting contradiction in them, in that they were machines that had tried very, very hard to emulate the human form down to the microscopic level, that they were virtually indistinguishable from us. But logically as incredibly advanced sentient beings that have evolved on their own and have evolved themselves in certain directed ways, one would think and expect that they had other methods of data sharing, that they chose to speak and that they would choose to speak to us and one another out of something more philosophical and more theological than technical necessity. Of course they can exchange data at far greater rates, of course they can share information in more advanced ways than verbally or by writing it down, we've never seen them write anything down, but they have other options. They choose to be human, they choose that this is what they think their [[God]] wants their form to take, God created man in their view and man created them and this is the form that they have chosen to honor that original creation. But because there is the implication that these guys have other ways of sharing data and certainly they share information and share memories in different ways and are able to download consciousness and all kinds of different things implies that they have other abilities. So it didn't seem like too big of a stretch to say that if she interacted directly with an optical cable on [[Galactica (RDM)\|''Galactica'']] that she would now have a method to do it. I mean, if she really wanted to, yeah, there was a way she could communicate directly with the hardware.		[[Sharon Valerii\|Sharon's]] whole gag here of putting the conduit in her arm, as I said earlier, is something that I just came up with out of a frustration to not do another space battle. But what I also liked about it that I felt it was consistent with what we'd wanted to say about the [[Cylons (RDM)\|Cylons]] right along, that there was this interesting contradiction in them, in that they were machines that had tried very, very hard to emulate the human form down to the microscopic level, that they were virtually indistinguishable from us. But logically as incredibly advanced sentient beings that have evolved on their own and have evolved themselves in certain directed ways, one would think and expect that they had other methods of data sharing, that they chose to speak and that they would choose to speak to us and one another out of something more philosophical and more theological than technical necessity. Of course they can exchange data at far greater rates, of course they can share information in more advanced ways than verbally or by writing it down, we've never seen them write anything down, but they have other options. They choose to be human, they choose that this is what they think their [[God (RDM)\|God]] wants their form to take, God created man in their view and man created them and this is the form that they have chosen to honor that original creation. But because there is the implication that these guys have other ways of sharing data and certainly they share information and share memories in different ways and are able to download consciousness and all kinds of different things implies that they have other abilities. So it didn't seem like too big of a stretch to say that if she interacted directly with an optical cable on [[Galactica (RDM)\|''Galactica'']] that she would now have a method to do it. I mean, if she really wanted to, yeah, there was a way she could communicate directly with the hardware.

	Hard not to comment on this scene, the destruction and the sort of [[Wikipedia:Great_Marianas_Turkey_Shoot\|Turkey Shoot]] of the [[Cylon Raider\|Cylon Raiders]] is something that I thought was just really interesting. You don't really see that kind of situation very often where the good guys suddenly have the enemy at their mercy and just completely wipe them out because that's what they would do. They would just lay waste to those guys. There would be a sense of payback. And they would just go chew them up and we kept calling it the Turkey Shoot which is a reference to- there was an air battle in the [[Wikipedia:Second_World_War\|Second World War]] in the [[Wikipedia:Pacific\|Pacific]], I believe it was the [[Wikipedia:Marianas\|Marianas]] where essentially the [[Wikipedia:Japanese_people\|Japanese]] sent up one of their last great throes of aircraft at the [[Wikipedia:United_States\|American]] fleet but the pilots were very green and the Americans were much more powerful and experienced than they were at the beginning of the war and the simply just slaughtered the Japanese. Just shot down hundreds of aircraft and it was called the Great Marianas Turkey Shoot and this was a similar idea.		Hard not to comment on this scene, the destruction and the sort of [[Wikipedia:Great_Marianas_Turkey_Shoot\|Turkey Shoot]] of the [[Cylon Raider\|Cylon Raiders]] is something that I thought was just really interesting. You don't really see that kind of situation very often where the good guys suddenly have the enemy at their mercy and just completely wipe them out because that's what they would do. They would just lay waste to those guys. There would be a sense of payback. And they would just go chew them up and we kept calling it the Turkey Shoot which is a reference to- there was an air battle in the [[Wikipedia:Second_World_War\|Second World War]] in the [[Wikipedia:Pacific\|Pacific]], I believe it was the [[Wikipedia:Marianas\|Marianas]] where essentially the [[Wikipedia:Japanese_people\|Japanese]] sent up one of their last great throes of aircraft at the [[Wikipedia:United_States\|American]] fleet but the pilots were very green and the Americans were much more powerful and experienced than they were at the beginning of the war and the simply just slaughtered the Japanese. Just shot down hundreds of aircraft and it was called the Great Marianas Turkey Shoot and this was a similar idea.

Serenity at 17:39, 15 May 2007

2007-05-15T17:39:04Z

← Older revision		Revision as of 17:39, 15 May 2007
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	Now we're back in the firing range. A lot of this was scripted; getting the gun, getting the ammo, the bullet ricochets, all of it was choreographed in conjunction with the director and the actors on the set. But I think a lot of the credit to this sequence goes to [[Katee Sackhoff\|Katee]] and [[Jamie Bamber\|Jamie]] who I think play this just beautifully, it's like I completely- I'm just there with them in the room. The way he moves toward this table I'm particularly fond of, his reaching up, this from the back, groping up there, getting the box, the box basically almost falls on his head there on the set, he just keeps going, it missed his nose by like a millimeter. And I believe, if I'm not mistaken, I think the notion that [[Kara Thrace\|Starbuck]] and [[Lee Adama\|Apollo]] did this together is something the actors came up with, I think it was gonna be Katee and I think they talked or they were working on the scene and liked the idea of him steadying her hand to shoot out the window. I think that was something that they came up with which I think is a stroke of genius which I think is really nice.		Now we're back in the firing range. A lot of this was scripted; getting the gun, getting the ammo, the bullet ricochets, all of it was choreographed in conjunction with the director and the actors on the set. But I think a lot of the credit to this sequence goes to [[Katee Sackhoff\|Katee]] and [[Jamie Bamber\|Jamie]] who I think play this just beautifully, it's like I completely- I'm just there with them in the room. The way he moves toward this table I'm particularly fond of, his reaching up, this from the back, groping up there, getting the box, the box basically almost falls on his head there on the set, he just keeps going, it missed his nose by like a millimeter. And I believe, if I'm not mistaken, I think the notion that [[Kara Thrace\|Starbuck]] and [[Lee Adama\|Apollo]] did this together is something the actors came up with, I think it was gonna be Katee and I think they talked or they were working on the scene and liked the idea of him steadying her hand to shoot out the window. I think that was something that they came up with which I think is a stroke of genius which I think is really nice.

	And now we're in this. The [[technobabble]] on the show is a constant source of- I wanna say frustration- but it's more a sense of obligation really- which makes it frustrating. It is a science fiction series, there's a lot of space hardware involved, there are certain sci-fi concepts, if you're gonna deal with a computer [[virus]] you're obligated at some point to have to do this scene where they talk about what the problem is, it's identified and varying solutions are posited. Then usually the way you write the scene is there's no way to deal with this problem except the one possible outside crazy chance that they all inevitably take. That is the rhythm of writing one of these scenes. In this particular scene, it follows the usual pattern of things, the [[William Adama\|Commander]] asking his people for the varying options, what's the toughest option that you can usually ask for. The nice thing here is of course that the deal with- this moment- essentially the nice thing here is when he says 'I got a [[Cylons (RDM)\|Cylon]] expert on board' and the scene is basically led to the point where we slap [[Gaius Baltar\|Baltar]] and that's the joke... and out. And actually that scene kept going where Baltar tried to revisit the issue with Adama saying 'Hey, wait a minute I really think I should go down there' and Adama says 'no, no, no, we got this all under control you just don't worry about it, you just don't worry about it' and Baltar goes and sits at the foot of the stairs and has a conversation with [[Number Six\|Six]]. It was all nice stuff, I particularly liked Baltar's conversation with Six 'cos the way [[IMDB:nm0002749\|Nankin]] shot it you looked up she was sitting up on the stairs in [[CIC]] and he shot her through some sort of translucent material and it was really interesting cinematically. But ultimately again this was one of those really long shows and a lot of choices had to be made.		And now we're in this. The [[technobabble]] on the show is a constant source of- I wanna say frustration- but it's more a sense of obligation really- which makes it frustrating. It is a science fiction series, there's a lot of space hardware involved, there are certain sci-fi concepts, if you're gonna deal with a computer [[Cylon computer virus\|virus]] you're obligated at some point to have to do this scene where they talk about what the problem is, it's identified and varying solutions are posited. Then usually the way you write the scene is there's no way to deal with this problem except the one possible outside crazy chance that they all inevitably take. That is the rhythm of writing one of these scenes. In this particular scene, it follows the usual pattern of things, the [[William Adama\|Commander]] asking his people for the varying options, what's the toughest option that you can usually ask for. The nice thing here is of course that the deal with- this moment- essentially the nice thing here is when he says 'I got a [[Cylons (RDM)\|Cylon]] expert on board' and the scene is basically led to the point where we slap [[Gaius Baltar\|Baltar]] and that's the joke... and out. And actually that scene kept going where Baltar tried to revisit the issue with Adama saying 'Hey, wait a minute I really think I should go down there' and Adama says 'no, no, no, we got this all under control you just don't worry about it, you just don't worry about it' and Baltar goes and sits at the foot of the stairs and has a conversation with [[Number Six\|Six]]. It was all nice stuff, I particularly liked Baltar's conversation with Six 'cos the way [[IMDB:nm0002749\|Nankin]] shot it you looked up she was sitting up on the stairs in [[CIC]] and he shot her through some sort of translucent material and it was really interesting cinematically. But ultimately again this was one of those really long shows and a lot of choices had to be made.

	Through the varying cuts the thing that we kept coming back to was this story, the story of the gathering of the family to accomplish one task that they he set out to- and the father figure coming down and seeing it. It all kept circling back to tell the story about the family... tell the story about the family. And you had to give a certain amount of screentime to the virus because you have to do that for plot reasons and so what ends up happening is you end up cutting things like the Baltar/Six conversation.		Through the varying cuts the thing that we kept coming back to was this story, the story of the gathering of the family to accomplish one task that they he set out to- and the father figure coming down and seeing it. It all kept circling back to tell the story about the family... tell the story about the family. And you had to give a certain amount of screentime to the virus because you have to do that for plot reasons and so what ends up happening is you end up cutting things like the Baltar/Six conversation.

Mercifull: adding podcast list

2007-04-19T11:22:54Z

adding podcast list

← Older revision		Revision as of 11:22, 19 April 2007
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	So that, my friends, is the long-delayed "[[Flight of the Phoenix]]" podcast. I apologise again for the lateness of it, to all those of you who have been patient followers of my very empty blog I think you for your patience. I do skim the [http://mboard.scifi.com/postlist.php?Cat=&Board=BattlestarGalactica Sci-Fi.com messageboards] periodically to see what you all are saying and I see you're complaints ''and I'm sorry''. And I always promise I will try and write the blog and I always seem to not do it, so I won't promise you that which probably means I'll do it. In any case I will now go and record the podcast for episode ten "[[Pegasus (episode)\|Pegasus]]". Good night.		So that, my friends, is the long-delayed "[[Flight of the Phoenix]]" podcast. I apologise again for the lateness of it, to all those of you who have been patient followers of my very empty blog I think you for your patience. I do skim the [http://mboard.scifi.com/postlist.php?Cat=&Board=BattlestarGalactica Sci-Fi.com messageboards] periodically to see what you all are saying and I see you're complaints ''and I'm sorry''. And I always promise I will try and write the blog and I always seem to not do it, so I won't promise you that which probably means I'll do it. In any case I will now go and record the podcast for episode ten "[[Pegasus (episode)\|Pegasus]]". Good night.

			{{Podcast list (RDM season 2)}}

JubalHarshaw: Earth ---> Earth (RDM)

2007-04-16T23:44:53Z

Earth ---> Earth (RDM)

← Older revision		Revision as of 23:44, 16 April 2007
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	To continue the thought, because they live in their own somewhat hermetically sealed world and their primary contact are with people already on the ship it only stands to reason they're gonna start having relationships with one another, in varying ways and varying combinations. If [[Galactica (RDM)\|Galactica]] was just a warship in a normal military these things would be completely off-base and oh my God there'd be huge scandals and indeed [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii\|Sharon]] got a lot of flak for their assignations, as it were. Last season [[Saul Tigh\|Tigh]] started to crack down on them at some point, everybody knew it wasn't cool. But at some point there's a reality to their lives and their particular situations, it's gonna drive them into these relationships and so it felt natural that she would have- that we could do a relationship between her and [[Lee Adama\|Lee]]. And we were frankly intrigued by the qualities of the triangle.		To continue the thought, because they live in their own somewhat hermetically sealed world and their primary contact are with people already on the ship it only stands to reason they're gonna start having relationships with one another, in varying ways and varying combinations. If [[Galactica (RDM)\|Galactica]] was just a warship in a normal military these things would be completely off-base and oh my God there'd be huge scandals and indeed [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii\|Sharon]] got a lot of flak for their assignations, as it were. Last season [[Saul Tigh\|Tigh]] started to crack down on them at some point, everybody knew it wasn't cool. But at some point there's a reality to their lives and their particular situations, it's gonna drive them into these relationships and so it felt natural that she would have- that we could do a relationship between her and [[Lee Adama\|Lee]]. And we were frankly intrigued by the qualities of the triangle.

	You can see that we've moved the construction of the fighter ahead in fairly big leaps, we could have chosen to parse out the building of the [[Viper]] over many episodes. This could have been like a running B story that took three or four episodes to ultimately pay off but there was something about doing it in one episode that seemed to really speak to the larger emotional arc of what's going on in the show. These people that are starting to get, at the top of the show, have gotten to a place where [[William Adama\|Adama]] says 'everyone is depressed because they've realised this is what it's gonna be for them', they've got the map to [[Earth]], and they're heading off to Earth but hey that was a few days ago, it's like 'Hey, we got Home Part II, we got- we looked at the giant thing and stood on the giant field and stared at the blue screen and we got our map from on high, yahoo, and had the big applause and y'know time passes and you're still on this fucking ship. You're still looking for that fucking planet and it's like it's not getting any easier guys, knowing where you're going helps a little bit but it's not getting any easier for these people'. So it felt right to then do an episode that was centered around one man's effort to do something about that. They're trapped in what is by-and-large a helpless situation, where a victory for them is running away and Tyrol finds a way to do something positive and something that maybe is not help them in a vastly material sense; it's only one fighter and it's ultimately a stealth fighter more than anything else. But the symbolism of that, the effort of that, the fact that they all put their hearts into it, was a larger- spoke to a larger thematic issue by doing it in one episode rather than spreading it out over many episodes.		You can see that we've moved the construction of the fighter ahead in fairly big leaps, we could have chosen to parse out the building of the [[Viper]] over many episodes. This could have been like a running B story that took three or four episodes to ultimately pay off but there was something about doing it in one episode that seemed to really speak to the larger emotional arc of what's going on in the show. These people that are starting to get, at the top of the show, have gotten to a place where [[William Adama\|Adama]] says 'everyone is depressed because they've realised this is what it's gonna be for them', they've got the map to [[Earth (RDM)\|Earth]], and they're heading off to Earth but hey that was a few days ago, it's like 'Hey, we got Home Part II, we got- we looked at the giant thing and stood on the giant field and stared at the blue screen and we got our map from on high, yahoo, and had the big applause and y'know time passes and you're still on this fucking ship. You're still looking for that fucking planet and it's like it's not getting any easier guys, knowing where you're going helps a little bit but it's not getting any easier for these people'. So it felt right to then do an episode that was centered around one man's effort to do something about that. They're trapped in what is by-and-large a helpless situation, where a victory for them is running away and Tyrol finds a way to do something positive and something that maybe is not help them in a vastly material sense; it's only one fighter and it's ultimately a stealth fighter more than anything else. But the symbolism of that, the effort of that, the fact that they all put their hearts into it, was a larger- spoke to a larger thematic issue by doing it in one episode rather than spreading it out over many episodes.

	So when you decide to go there and you're seeking that kind of deeper truth within the episode and using the episode to convey that idea, the other things become less important. It's like the true timeline of how long it would really take to actually build one of these things from scratch would probably be much- it would be weeks realistically. But you'd rather tell the story in one package, you'd rather tell the story, hold the viewer in the moment of the scenes, make them invest themselves in the effort and pay it off and so you can fudge the timeline, you can kind of skate by, there's no definitive statement in the episode about how long this is all taking. It's kept purposely vague, there's no clock going on. Noone's mentioning the passage of time really since he started working on the Viper. You probably could find cryptic references here and there that might nail it down to a specific timeline maybe but pretty much we kept this as vague as we could. We didn't wanna put it in your face that we're compressing the timeline drastically but at the same time it's more important to tell the story than it is to get bogged down in the details of exactly how long it takes them to build the thing.		So when you decide to go there and you're seeking that kind of deeper truth within the episode and using the episode to convey that idea, the other things become less important. It's like the true timeline of how long it would really take to actually build one of these things from scratch would probably be much- it would be weeks realistically. But you'd rather tell the story in one package, you'd rather tell the story, hold the viewer in the moment of the scenes, make them invest themselves in the effort and pay it off and so you can fudge the timeline, you can kind of skate by, there's no definitive statement in the episode about how long this is all taking. It's kept purposely vague, there's no clock going on. Noone's mentioning the passage of time really since he started working on the Viper. You probably could find cryptic references here and there that might nail it down to a specific timeline maybe but pretty much we kept this as vague as we could. We didn't wanna put it in your face that we're compressing the timeline drastically but at the same time it's more important to tell the story than it is to get bogged down in the details of exactly how long it takes them to build the thing.

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T20:04:06Z

Kobol -> Kobol (RDM)

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	I love the card game scene a lot, I really liked [[Margaret Edmondson\|Racetrack]], I'm really intrigued with the way Racetrack has become one of our members of our family. I've commented on this before, the way that many of the supporting players that came on just for a role here and a role there then expanded and have become part of the life-blood of the show. Racetrack was just going to be the temporary [[ECO]] in "[[Kobol's Last Gleaming]]" last year, [[Sharon Valerii\|Sharon]] needed to ride with somebody, let her ride with- well call her Racetrack, and now Racetrack is like a full blown character for us which I think is just great and it's a real salute to the quality of casting that we're able to do, the dynamics down on the show.		I love the card game scene a lot, I really liked [[Margaret Edmondson\|Racetrack]], I'm really intrigued with the way Racetrack has become one of our members of our family. I've commented on this before, the way that many of the supporting players that came on just for a role here and a role there then expanded and have become part of the life-blood of the show. Racetrack was just going to be the temporary [[ECO]] in "[[Kobol's Last Gleaming]]" last year, [[Sharon Valerii\|Sharon]] needed to ride with somebody, let her ride with- well call her Racetrack, and now Racetrack is like a full blown character for us which I think is just great and it's a real salute to the quality of casting that we're able to do, the dynamics down on the show.

	In any case back to Helo and Tyrol, we talked at length what they would do when these two finally got together, and you start with the most obvious idea is- the one that we ended up with which is that they fight. You started with that- you start saying 'okay let's not do that, let's try something else, what else would they do?' We talked about versions where they saw each other in the Rec Room or at some social situation, eyed each other, there was a hard look and not much more, there was a point where Tyrol came and sat down with Helo and said some things that were completely off-point, just man-talk about something else but there was a mutually understood feeling of what was really going on. We tried versions of that but none of them were really that satisfying because on some level you knew that the thing that was most in character for these two men based on the people that we had seen them be, him down on [[The Twelve Colonies (RDM)\|Caprica]] and Tyrol dealing with people on [[Galactica (RDM)\|Galactica]] and [[Kobol]], that there's a lot of rage and a lot of frustration and a lot of self-hatred and ambiguity in both these men over the choices that they've made, over the people that they've chosen to send- give their hearts to and the fact that they've now come face-to-face with the representational other of themselves. How could you not wanna beat the crap out of him?		In any case back to Helo and Tyrol, we talked at length what they would do when these two finally got together, and you start with the most obvious idea is- the one that we ended up with which is that they fight. You started with that- you start saying 'okay let's not do that, let's try something else, what else would they do?' We talked about versions where they saw each other in the Rec Room or at some social situation, eyed each other, there was a hard look and not much more, there was a point where Tyrol came and sat down with Helo and said some things that were completely off-point, just man-talk about something else but there was a mutually understood feeling of what was really going on. We tried versions of that but none of them were really that satisfying because on some level you knew that the thing that was most in character for these two men based on the people that we had seen them be, him down on [[The Twelve Colonies (RDM)\|Caprica]] and Tyrol dealing with people on [[Galactica (RDM)\|Galactica]] and [[Kobol (RDM)\|Kobol]], that there's a lot of rage and a lot of frustration and a lot of self-hatred and ambiguity in both these men over the choices that they've made, over the people that they've chosen to send- give their hearts to and the fact that they've now come face-to-face with the representational other of themselves. How could you not wanna beat the crap out of him?

	The moment of him reaching for the wrench is really interesting and telling about just how far the rage has built in these men. Actually I got a note from one of the writers of this episode, [[Bradley Thompson]] and his partner [[David Weddle]] who wrote this episode, and they objected to that moment and I must say in their defence I completely understand why they object to that moment because it really says something pretty bad about Tyrol, which is why I like it of course. I like the fact that Tyrol for a moment lost himself in that- he's been drinking, he lost himself- he picked up that wrench and for a moment really thought about caving in Helo's skull with it. And there's a seduction to that and there's a pull to that and it's an emotion that I think that the character would genuinely feel in those circumstances. There's a truth to it, ultimately that's why we went with the fight, there's a truth to it, I just believe it, I believe that that's what those two men would do.		The moment of him reaching for the wrench is really interesting and telling about just how far the rage has built in these men. Actually I got a note from one of the writers of this episode, [[Bradley Thompson]] and his partner [[David Weddle]] who wrote this episode, and they objected to that moment and I must say in their defence I completely understand why they object to that moment because it really says something pretty bad about Tyrol, which is why I like it of course. I like the fact that Tyrol for a moment lost himself in that- he's been drinking, he lost himself- he picked up that wrench and for a moment really thought about caving in Helo's skull with it. And there's a seduction to that and there's a pull to that and it's an emotion that I think that the character would genuinely feel in those circumstances. There's a truth to it, ultimately that's why we went with the fight, there's a truth to it, I just believe it, I believe that that's what those two men would do.

Steelviper: + season, episode variables

2007-02-27T21:01:41Z

+ season, episode variables

← Older revision		Revision as of 21:01, 27 February 2007
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	{{podcast\|author=Misco\|emailAuthor2=\|suffix=\|additionalCopyright=}}		{{podcast\|author=Misco\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=E}}
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_1of5.mp3 Teaser]==

Shane: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_3of5.mp3 Act 2] */

2006-06-13T21:28:52Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_3of5.mp3 Act 2]

← Older revision		Revision as of 21:28, 13 June 2006
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	There were varying versions where this scene was cut, it's really interesting the editing process, I've spoken about it before on these podcasts but quite often the editing process is just more fascinating in some ways than the script process because it really is. You're dealing with a given amount of material, there's lots of different ways you can emphasise different elements of it. This scene for example, we actually discussed at one point taking this scene out and opening the next episode with it because we, as I'll talk about in episode ten, "[[Pegasus (episode)\|Pegasus]]"- there was a point where we were going to make "Pegasus" a ninety minute episode and we were looking for ways to lengthen it to that length because it wasn't intended to be that long but we had a very long cut and we thought that we could expand it slightly to get up to a ninety minute running time and one of the ways we thought about doing that was to open "Pegasus" with this scene. That you would open cold with Lee and [[Anastasia Dualla\|Dualla]] in this combat thing and establish that relationship a little bit more for the audience, to show that there was something going on, and then get into the "Pegasus" show. We did try a version of that, we watched a version and it was okay but it kinda stuck out as a- it had nothing to do with the show, it really does belong here, so the fact that we had to go for the hour version meant that this got to stay in "[[Flight of the Phoenix]]" which is really where it belongs.		There were varying versions where this scene was cut, it's really interesting the editing process, I've spoken about it before on these podcasts but quite often the editing process is just more fascinating in some ways than the script process because it really is. You're dealing with a given amount of material, there's lots of different ways you can emphasise different elements of it. This scene for example, we actually discussed at one point taking this scene out and opening the next episode with it because we, as I'll talk about in episode ten, "[[Pegasus (episode)\|Pegasus]]"- there was a point where we were going to make "Pegasus" a ninety minute episode and we were looking for ways to lengthen it to that length because it wasn't intended to be that long but we had a very long cut and we thought that we could expand it slightly to get up to a ninety minute running time and one of the ways we thought about doing that was to open "Pegasus" with this scene. That you would open cold with Lee and [[Anastasia Dualla\|Dualla]] in this combat thing and establish that relationship a little bit more for the audience, to show that there was something going on, and then get into the "Pegasus" show. We did try a version of that, we watched a version and it was okay but it kinda stuck out as a- it had nothing to do with the show, it really does belong here, so the fact that we had to go for the hour version meant that this got to stay in "[[Flight of the Phoenix]]" which is really where it belongs.

	And we had been talking about doing this triangle with Lee/[[Billy Keikeya\|Billy]]/Dualla, the triangle was something we talked about doing for most of the season. I mean we talked about- probably when we were working on one or two is when the notion of putting them together came up and it was "[[Resistance]]"- we were shooting "Resistance" I remember when we decided to definitively to do it. Because in "Resistance" there's that whole little subplot of Lee and Dualla, her coming and being the one who would walk with him down the corridor in the morning and give him a report- idle conversation back-and-forth between two somewhat intimates. And what I liked about extending that as a relationship was there's a certain logic to them, there's a certain emotional truth to the idea that Dualla is the voice that the pilots always hear, that was something that we said back in "Tigh me up, Tigh me down". She said there's a special relationship between her and the pilots, they look on her very fondly, I think they're a bit protective of her. She probably talks to Lee more than the other pilots, he's the [[Commander Air Group\|CAG]], there's probably a lot of wireless communication back-and-forth between Lee and Dualla just on a day-to-day basis and it sort of stood to reason that there could be a relationship between those two, because again within the reality of the show there's nobody else, their world is not getting any bigger. There are fifty thousand people, period, and the people on [[Galactica (RDM)\|Galactica]] live in their own sort of hermetically sealed world to a large extent.		And we had been talking about doing this triangle with Lee/[[Billy Keikeya\|Billy]]/Dualla, the triangle was something we talked about doing for most of the season. I mean we talked about- probably when we were working on one or two is when the notion of putting them together came up and it was "[[Resistance (episode)\|Resistance]]"- we were shooting "Resistance" I remember when we decided to definitively to do it. Because in "Resistance" there's that whole little subplot of Lee and Dualla, her coming and being the one who would walk with him down the corridor in the morning and give him a report- idle conversation back-and-forth between two somewhat intimates. And what I liked about extending that as a relationship was there's a certain logic to them, there's a certain emotional truth to the idea that Dualla is the voice that the pilots always hear, that was something that we said back in "Tigh me up, Tigh me down". She said there's a special relationship between her and the pilots, they look on her very fondly, I think they're a bit protective of her. She probably talks to Lee more than the other pilots, he's the [[Commander Air Group\|CAG]], there's probably a lot of wireless communication back-and-forth between Lee and Dualla just on a day-to-day basis and it sort of stood to reason that there could be a relationship between those two, because again within the reality of the show there's nobody else, their world is not getting any bigger. There are fifty thousand people, period, and the people on [[Galactica (RDM)\|Galactica]] live in their own sort of hermetically sealed world to a large extent.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/209/bsg_ep209_4of5.mp3 Act 3]==