Podcast:Frak Party Q and A - Revision history

Catrope: /* Influence of the fans */ transcribed till 61:48

2008-05-02T18:20:44Z

Influence of the fans: transcribed till 61:48

← Older revision		Revision as of 18:20, 2 May 2008
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	Woman: You're cool about that, but [[w:J.K. Rowling\|J.K. Rowling]] gets really mad if you do that.		Woman: You're cool about that, but [[w:J.K. Rowling\|J.K. Rowling]] gets really mad if you do that.

	RDM: Yeah, you got— personally, you just have to detach from it, it's— I feel— I like the show, and I'm gonna like the show whether you like it or not, and I'm gonna dislike it, whether you like it or not, and I— you have to be comfortable with that and just say "I'm making the show, this is what I want it to be, and this is what my vision of it is, <!-- 59:00 -->and I hope that other people agree, but if they don't, I'm—" you have to be OK with that too. <!-- 59:04 -->		RDM: Yeah, you got— personally, you just have to detach from it, it's— I feel— I like the show, and I'm gonna like the show whether you like it or not, and I'm gonna dislike it, whether you like it or not, and I— you have to be comfortable with that and just say "I'm making the show, this is what I want it to be, and this is what my vision of it is, <!-- 59:00 -->and I hope that other people agree, but if they don't, I'm—" you have to be OK with that too.

			Woman: Do you think that the new age of television and the internet is going to— at some point, people are gonna say the Nielsen rating is no longer a valid. Because there are many of us, for example, who have satellite dish, many of us do TiVo, many of us— but we— y'know, because of life we've missed like two episodes already, we mentally go "OK, (unintelligible). I mean, it's— <!-- 59:30 -->is there gonna be a point where corporate America's gonna have to say "Look, this is the way it is, and we've got to not kill the show 'cause we think no one's watching it or not count this, but somehow— embrace it somehow".

			Other woman: It's interesting that— y'know, an industry that can produce the kind of [[w:Computer-generated imagery\|CGI]] and special effects that they do— they're just such a dinosaur when it comes to technology. It's extraordinary, [[w:iTunes\|iTunes]], things like that, they just are not on board with them.

			RDM: It's an industry in <!-- 60:00 -->great transition, because I— in the not so distant future, I think there will be multiple ways that you will choose to watch our— to watch programs. You will have an option to watch it with commercials, because that's free, and I there's so much money in advertisers, and there's so much money in advertising revenue, that that model's not really gonna go away. There's always gonna be a way to watch a show for free, and there's always gonna be a section of the audience that doesn't wanna pay for it. And they'll sit through the commercials, week after week, and the advertisers will get their money, <!-- 60:30 -->however that's defined, whether it's banners or something that you have to sit through that you can't fast-forward or whatever, there will always be a free version of content. And then there will be pay-per-view. And then there will be subscription (unintelligible). So there will be multiple ways to watch a show, and I that the technology will be such that you'll all be one thing, your TV, your computer, your cellphone, your car, will all share content and would have just one home address. And you'll get it and you'll share it between all these <!-- 61:00 -->devices however you want. And essentially, they will be able to track you as an individual much closer than they do now. The Nielsens— there was a time in— say the last ten years, ten years ago or so, where music was— the [[w:Billboard (magazine)\|Billboard]] Top Ten— Top 40 was tracked by a company calling individual music stores and saying "Hey, what did you sell this week?". They would do a sample— they really did this, they would do a sample and the music store managers would call back and say "Oh, well, we sold this many [[w:Justin Timberlake\|Justin Timberlake]]s and <!-- 61:30 -->so and so". And that determined the Billboard Top Ten. And then they did this thing called Sh— I think it's Showscan, which literally— [[w:Nielsen SoundScan\|SoundScan]]?— which literally tracks every single CD, and suddenly the Billboard was upended and country music was ''huge'', and they had no idea how big it was. And I think you're gonna see the same thing with the Nielsens. <!-- 61:48 -->

Catrope: /* Moore's favorite TV shows */ sectioning, tweaks

2008-04-29T17:12:08Z

Moore's favorite TV shows: sectioning, tweaks

← Older revision		Revision as of 17:12, 29 April 2008
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	RDM: I watched "[[w:McBain (film)\|McBain]]" with [[w:Christopher Walken\|Christopher Walken]]—		RDM: I watched "[[w:McBain (film)\|McBain]]" with [[w:Christopher Walken\|Christopher Walken]]—

	Woman: And, so, what about all the fan community, what's— TV's so interesting now, the way— it's so expensive to watch, we don't watch the commercials, so I feel like we pay nothing for this television show. And yet, just tonight, we watched this— essentially a feature film, tonight, that's extraordinarily expensive and it's hard to keep it on the air because there's so many channels for people to watch. So how does that all work? <!-- 52:00 -->How do the fans play into it? And I— even though I was one of the co-founders of Frak Party, I would say "I ~~watched very~~ Sunday night, and I really like it, and then I go to work". So I don't spend anytime on any of the other ~~fans (unintelligible)~~ or anything like that, yet I know they have a role in keeping the shows on the air, and— how does that all work for you?		=== Influence of the fans ===

			Woman: And, so, what about all the fan community, what's— TV's so interesting now, the way— it's so expensive to watch, we don't watch the commercials, so I feel like we pay nothing for this television show. And yet, just tonight, we watched this— essentially a feature film, tonight, that's extraordinarily expensive and it's hard to keep it on the air because there's so many channels for people to watch. So how does that all work? <!-- 52:00 -->How do the fans play into it? And I— even though I was one of the co-founders of Frak Party, I would say "I watch it every Sunday night, and I really like it, and then I go to work". So I don't spend anytime on any of the other fan sites or anything like that, yet I know they have a role in keeping the shows on the air, and— how does that all work for you?

	RDM: Well, I guess there's two answers. There's the larger, corporate answer and there's personally. In the larger, corporate sense, I think it's kind of vague. They're aware of fan culture, <!-- 52:30 -->sort of, and they sort of pay attention to it but they really don't. I mean, on a corporate level—		RDM: Well, I guess there's two answers. There's the larger, corporate answer and there's personally. In the larger, corporate sense, I think it's kind of vague. They're aware of fan culture, <!-- 52:30 -->sort of, and they sort of pay attention to it but they really don't. I mean, on a corporate level—
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	Woman: Well they don't understand it. And they marginalize it.		Woman: Well they don't understand it. And they marginalize it.

	RDM: On the corporate level, what they care about are the [[List of Nielsen ratings (RDM)\|ratings]], hard and fast. And they don't even care about if you [[w:TiVo\|TiVo]] it. Because it's all about [[w:Nielsen ~~ratings~~\|Nielsen ratings]] and they actually break out people that timeshifted, that recorded and watched it later, as a separate number. And our show was getting up to a third of its audience timeshifting it. But <!-- 53:00 -->we don't have those— those do not count to our ratings. Because all the Nielsen and the advertisers care about are the people that watch it live, on the air, at that moment, because when you watch TiVo, like we did, you zip through the commercials. So the advertisers aren't gonna pay for that viewership. So we're at this odd, transitional time in TV. But on the corporate level, all they really, really care about is— are the ratings and the critical press. The critical press on it has been so strong, <!-- 53:30 -->and it's given them such prestige within the business and in the larger mainstream press, that that really matters to them. That's a way of attracting other talent to the show, it's a way of positioning the network, it really matters to them that the show has garnered all ~~this audience~~.		RDM: On the corporate level, what they care about are the [[List of Nielsen ratings (RDM)\|ratings]], hard and fast. And they don't even care about if you [[w:TiVo\|TiVo]] it. Because it's all about [[w:Nielsen Ratings\|Nielsen ratings]] and they actually break out people that timeshifted, that recorded and watched it later, as a separate number. And our show was getting up to a third of its audience timeshifting it. But <!-- 53:00 -->we don't have those— those do not count to our ratings. Because all the Nielsen and the advertisers care about are the people that watch it live, on the air, at that moment, because when you watch TiVo, like we did, you zip through the commercials. So the advertisers aren't gonna pay for that viewership. So we're at this odd, transitional time in TV. But on the corporate level, all they really, really care about is— are the ratings and the critical press. The critical press on it has been so strong, <!-- 53:30 -->and it's given them such prestige within the business and in the larger mainstream press, that that really matters to them. That's a way of attracting other talent to the show, it's a way of positioning the network, it really matters to them that the show has garnered all these awards.

	~~Woman~~: Yeah, if the show hadn't gotten the critical claim that it has, it hadn't had the ratings that it has.		Terry: <!-- Is this Terry? -->Yeah, if the show hadn't gotten the critical claim that it has, it hadn't had the ratings that it has.

	RDM: It wouldn't be around. On a personal level, I— Terry and I surf through the fan sites, <!-- 54:00 -->I read everyone's (unintelligible), I will read the [http://forums.scifi.com/index.php?showforum=24 SciFi.com board], I read [http://www.televisionwithoutpity.com Television Without Pity], I read [http://www.mediablvd.com Media Boulevard], there's a couple others that I have bookmarked but I can't remember what they are, but I just hit them, there's a Battlestar's— there's the CIC or something <!-- link? -->that I go to, I actually go to [http://www.cylon.org Cylon.org] every once in a while, the people that hate us the most. See, you always have to go to the place that hates you the <!-- 54:30 -->most, because how can you not pick up the scab, y'know—		RDM: Yeah, it wouldn't be around. On a personal level, I— Terry and I surf through the fan sites, <!-- 54:00 -->I read everyone's (unintelligible), I will read the [http://forums.scifi.com/index.php?showforum=24 SciFi.com board], I read [http://www.televisionwithoutpity.com Television Without Pity], I read [http://www.mediablvd.com Media Boulevard], there's a couple others that I have bookmarked but I can't remember what they are, but I just hit them, there's a Battlestar's— there's the CIC or something <!-- link? -->that I go to, I actually go to [http://www.cylon.org Cylon.org] every once in a while, who are the people that hate us the most. See, you always have to go to the place that hates you the <!-- 54:30 -->most, because how can you not pick up the scab, y'know—

	Woman: (unintelligible) do is go to [http://www.frakparty.com FrakParty.com], you found all— we were trying to promote it, we found all of these people that said "we will promote it, but we're ~~(unintelligible)~~, we only believe in [[Original Series\|the first "Battlestar Galactica"]]. And we always reacted like "so you only believe in the first?", I mean, there's somebody who said "even in life it seems too—"		Woman: (unintelligible) do is go to [http://www.frakparty.com FrakParty.com], you found all— we were trying to promote it, we found all of these people that said "we will promote it, but we're purists, we only believe in [[Original Series\|the first "Battlestar Galactica"]]. And we always reacted like "so you only believe in the first?", I mean, there's somebody who said "even in life it seems too—"

	RDM: Hear, hear.		RDM: Hear, hear.
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	Terry: I read the [http://www.stallioncornell.com/board/index.php Moist Board]		Terry: I read the [http://www.stallioncornell.com/board/index.php Moist Board]

	RDM: The Moi— she reads the Moist Board. There's a very small <!-- 55:00 -->group of them I read, and essentially I read them just to see what people say. As a TV writer, I don't get to go into the back of the theater and watch an audience react to the show. And if you're a play writer, you're a feature writer, that's part of the process, you get to see what the audience as <!-- ? -->well, on TV I don't get that. And the internet is the closest that I can come to doing it.		RDM: The Moi— she reads the Moist Board. There's a very small <!-- 55:00 -->group of them I read, and essentially I read them just to see what people say. I mean, as a TV writer, I don't get to go into the back of the theater and watch an audience react to the show. And if you're a play writer, you're a feature writer, that's part of the process, you get to see what the audience as <!-- ? -->well, on TV I don't get that. And the internet is the closest that I can come to doing it.

	Terry: But it's also tricky because there is a sense in this new age of people who watch the show all the time, get invested in it, <!-- 55:30 -->and get invested in what the outcome is, and where is Ron going with the story, and why isn't he doing it this way, and he should go over here, and he should— y'know, and you always have this thing about you're doing the show you wanna do— I mean, he—		Terry: But it's also tricky because there is a sense in this new age of people who watch the show all the time, get invested in it, <!-- 55:30 -->and get invested in what the outcome is, and where is Ron going with the story, and why isn't he doing it this way, and he should go over here, and he should— y'know, and you always have this thing about you're doing the show you wanna do— I mean, he—
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	Other woman: It was— because of the relationship.		Other woman: It was— because of the relationship.

			<!-- Dialogue rearranged slightly here for better reading -->
	Man: I started disliking it, but ended up liking it in the end. It didn't <!-- 57:00 -->feel right to me in the beginning, until you got to the end and realized what was going on. It was very awkward at the beginning.		Man: I started disliking it, but ended up liking it in the end. It didn't <!-- 57:00 -->feel right to me in the beginning, until you got to the end and realized what was going on. It was very awkward at the beginning.

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	Terry: "And here's my review".		Terry: "And here's my review".

	RDM: Yeah. <!-- 58:30 -->"Here's my detailed review and breakdown of the entire thing, and you just realize at some point we're all— that's just another expression of love—		RDM: Yeah. <!-- 58:30 -->"Here's my detailed review and breakdown of the entire thing", and you just realize at some point we're all— that's just another expression of love—

	Woman: You're cool about that, but [[w:J.K. Rowling\|J.K. Rowling]] gets really mad if you do that.		Woman: You're cool about that, but [[w:J.K. Rowling\|J.K. Rowling]] gets really mad if you do that.

	RDM: Yeah, you got— personally, you just have to detach from it, it's— I feel— I like the show, and I'm gonna like the show whether you like it or not, and I'm gonna dislike it, whether you like it or not, and I— you have to be comfortable with that and just say "I'm making the show, this is what I want it to be, and this is what my vision of it is, <!-- 59:00 -->and I hope that other people agree, but if they don't, I'm—" you have to be OK with that too. <!-- 59:04 -->		RDM: Yeah, you got— personally, you just have to detach from it, it's— I feel— I like the show, and I'm gonna like the show whether you like it or not, and I'm gonna dislike it, whether you like it or not, and I— you have to be comfortable with that and just say "I'm making the show, this is what I want it to be, and this is what my vision of it is, <!-- 59:00 -->and I hope that other people agree, but if they don't, I'm—" you have to be OK with that too. <!-- 59:04 -->

Catrope: /* Moore's favorite TV shows */ transcribed till 59:04

2008-04-29T16:16:56Z

Moore's favorite TV shows: transcribed till 59:04

← Older revision		Revision as of 16:16, 29 April 2008
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	RDM: I don't— y'know, and I don't watch a lot of hour dramas because with sci fi or speculative fiction and hour dramas in general, I have trouble sinking into them because I've become very analytical with them: I watch them <!-- 50:00 -->and a part of my brain is literally thinking "well, OK, this is the act 2 break, and they've gotten this far in the story, and OK, I've seen this many sets, this many guest cast", and I wonder how ma— how they're gonna do this location and about how many pages— and I just— I'm analyzing it as a showrunner, and it's hard to just—		RDM: I don't— y'know, and I don't watch a lot of hour dramas because with sci fi or speculative fiction and hour dramas in general, I have trouble sinking into them because I've become very analytical with them: I watch them <!-- 50:00 -->and a part of my brain is literally thinking "well, OK, this is the act 2 break, and they've gotten this far in the story, and OK, I've seen this many sets, this many guest cast", and I wonder how ma— how they're gonna do this location and about how many pages— and I just— I'm analyzing it as a showrunner, and it's hard to just—

	~~Woman~~: You don't wanna watch with him. <!-- 50:18 -->		Terry: You don't wanna watch with him. <!-- 50:18 -->

			RDM: No. Yeah, 'cause there's certain shows I used to have one—

			Woman: I used to always watch it, (unintelligible), before I met Ron, and I just gave up on it.

			RDM: Yeah, you don't wanna watch "[[w:Walker, Texas Ranger\|Walker]]" with me. <!-- 50:30 -->

			(laughter)

			RDM: I'll be like "OK, and now Walker is gonna come out of the building, and watch, he's gonna hit him. Yeah, see, he hit him."

			Man: That happens a lot when you have a professional watch a show, like a lawyer watching "[[w:Law & Order\|Law & Order]]" or doctor watching "[[w:Grey's Anatomy\|Grey's]]".

			Terry: Whose instinct is that there's a lot of lawyers watching those last few quorums. <!-- ? -->And what's your new favorite show, honey? Is it the really— the seediest show ever on television?

			RDM: Oh, "[[w:Cheaters\|Cheaters]]"!

			(laughter)

			RDM: "Cheaters" is so bad, it's a work of art, it's just so—

			Woman: <!-- 51:00-->It's a sad thing, isn't it?

			RDM: That is the lowest of the low.

			Man: Did you see when he was stabbed <!-- ? -->on the boat? Did you see that one?

			RDM: No I did— I missed that. Really?

			Man: Yeah, it was about a week ago.

			RDM: That is just— they are such bottom feeders, I have to watch it. But I will love "[[w:Showgirls\|Showgirls]]", so, y'know—

			Terry: If Ron has a— y'know, how bad a show is, and there are times when I just (unintelligible) in front of the TV and people sometimes just do the most ghastly things. It's like three eras into a Jacklin Smith <!-- spelling? link? --> lifetime <!-- 51:30 -->that we live in, and I just can't do this!

			RDM: I watched "[[w:McBain (film)\|McBain]]" with [[w:Christopher Walken\|Christopher Walken]]—

			Woman: And, so, what about all the fan community, what's— TV's so interesting now, the way— it's so expensive to watch, we don't watch the commercials, so I feel like we pay nothing for this television show. And yet, just tonight, we watched this— essentially a feature film, tonight, that's extraordinarily expensive and it's hard to keep it on the air because there's so many channels for people to watch. So how does that all work? <!-- 52:00 -->How do the fans play into it? And I— even though I was one of the co-founders of Frak Party, I would say "I watched very Sunday night, and I really like it, and then I go to work". So I don't spend anytime on any of the other fans (unintelligible) or anything like that, yet I know they have a role in keeping the shows on the air, and— how does that all work for you?

			RDM: Well, I guess there's two answers. There's the larger, corporate answer and there's personally. In the larger, corporate sense, I think it's kind of vague. They're aware of fan culture, <!-- 52:30 -->sort of, and they sort of pay attention to it but they really don't. I mean, on a corporate level—

			Woman: Well they don't understand it. And they marginalize it.

			RDM: On the corporate level, what they care about are the [[List of Nielsen ratings (RDM)\|ratings]], hard and fast. And they don't even care about if you [[w:TiVo\|TiVo]] it. Because it's all about [[w:Nielsen ratings\|Nielsen ratings]] and they actually break out people that timeshifted, that recorded and watched it later, as a separate number. And our show was getting up to a third of its audience timeshifting it. But <!-- 53:00 -->we don't have those— those do not count to our ratings. Because all the Nielsen and the advertisers care about are the people that watch it live, on the air, at that moment, because when you watch TiVo, like we did, you zip through the commercials. So the advertisers aren't gonna pay for that viewership. So we're at this odd, transitional time in TV. But on the corporate level, all they really, really care about is— are the ratings and the critical press. The critical press on it has been so strong, <!-- 53:30 -->and it's given them such prestige within the business and in the larger mainstream press, that that really matters to them. That's a way of attracting other talent to the show, it's a way of positioning the network, it really matters to them that the show has garnered all this audience.

			Woman: Yeah, if the show hadn't gotten the critical claim that it has, it hadn't had the ratings that it has.

			RDM: It wouldn't be around. On a personal level, I— Terry and I surf through the fan sites, <!-- 54:00 -->I read everyone's (unintelligible), I will read the [http://forums.scifi.com/index.php?showforum=24 SciFi.com board], I read [http://www.televisionwithoutpity.com Television Without Pity], I read [http://www.mediablvd.com Media Boulevard], there's a couple others that I have bookmarked but I can't remember what they are, but I just hit them, there's a Battlestar's— there's the CIC or something <!-- link? -->that I go to, I actually go to [http://www.cylon.org Cylon.org] every once in a while, the people that hate us the most. See, you always have to go to the place that hates you the <!-- 54:30 -->most, because how can you not pick up the scab, y'know—

			Woman: (unintelligible) do is go to [http://www.frakparty.com FrakParty.com], you found all— we were trying to promote it, we found all of these people that said "we will promote it, but we're (unintelligible), we only believe in [[Original Series\|the first "Battlestar Galactica"]]. And we always reacted like "so you only believe in the first?", I mean, there's somebody who said "even in life it seems too—"

			RDM: Hear, hear.

			(Crosstalk, train passing)

			RDM: I go to [http://www.trekbbs.com TrekBBS], and I go to [http://www.trekweb.com TrekWeb]— I mean, there's a small— there's a very small—

			Terry: I read the [http://www.stallioncornell.com/board/index.php Moist Board]

			RDM: The Moi— she reads the Moist Board. There's a very small <!-- 55:00 -->group of them I read, and essentially I read them just to see what people say. As a TV writer, I don't get to go into the back of the theater and watch an audience react to the show. And if you're a play writer, you're a feature writer, that's part of the process, you get to see what the audience as <!-- ? -->well, on TV I don't get that. And the internet is the closest that I can come to doing it.

			Terry: But it's also tricky because there is a sense in this new age of people who watch the show all the time, get invested in it, <!-- 55:30 -->and get invested in what the outcome is, and where is Ron going with the story, and why isn't he doing it this way, and he should go over here, and he should— y'know, and you always have this thing about you're doing the show you wanna do— I mean, he—

			RDM: Yeah, it's not a democracy. Ultimately, it's not a democracy, I mean it's— I'm interested in what the feedback is, but it doesn't really change my opinion of it. I mean, there are episodes that I love that people don't like. And there are episodes that I don't like that people love. <!-- 56:00 -->And I still have my opinion about them, I mean you really have to trust in your take on the show.

			Man: Do they ever influence the way you take the show?

			RDM: They do in some— I'm sure they do. I mean, there are definitely times in the writers' room where we're talking about the fans hated this, or liked that, and we— that will come up in discussion. And it influences it both ways, 'cause sometimes we'll take that in consideration and say "yeah, you know what, they really didn't like this, and we should <!-- 56:30 -->probably go another direction", other times we'll say "yeah, they're really gonna hate this, oh let's do that". Because everybody will hate it, it'll drive you to do it just because you're gonna stick a finger in their arse.

			Woman: So what's a show that you— they didn't like that you liked?

			Terry: "[[Unfinished Business]]".

			RDM: I ''love'' "Unfinished Business", that's the boxing show, that's one of my favorites of the whole series. And there were a lot of people that really disliked that show. And I just love it.

			Woman: Why?

			Other woman: It was— because of the relationship.

			Man: I started disliking it, but ended up liking it in the end. It didn't <!-- 57:00 -->feel right to me in the beginning, until you got to the end and realized what was going on. It was very awkward at the beginning.

			Woman: —so many comments about that show, because I do a lot of different fandoms, I'm on [http://www.livejournal.com LiveJournal] and in a lot of fan culture. The thing is, a lot of people in fan culture, they don't want the corporate to read what they're saying, because they've got their fan fiction, they've got their icons and their layouts and their graphics and their— and y'know, they don't want to see "Synthesis Clark" <!-- spelling? link? -->, they don't want people to be aware that they <!-- 57:30 -->write slash.

			RDM: I mean, my personal take on fan culture is, all that matters is that they're passionate about it. Because I worked at "[[w:Star Trek\|Star Trek]]" for a very long time, and my interaction with fans at conventions, and then at the dawn of the internet, as it was all happening, told me that ultimately, all that mattered was that they were passionate about it. Because we can never satisfy the fans of "Star Trek". If you went back and read some of those ancient postings about <!-- 58:00 -->"Trek", both [[w:Star Trek: The Next Generation\|Next Gen]] and [[w:Star Trek: Deep Space Nine\|Deep Space]], in its hay day, when everyone who now looks back and (chants) about the glory days, people were ripping us apart week after week after week, much like they are now on "Galactica". But what mattered was that they were people that swore that they hated the show, that it was the worst piece of crap that was on TV, who would say "and I watched this episode four times and it's getting worse, every time I watch it I hate it more".

			Terry: "And here's my review".

			RDM: Yeah. <!-- 58:30 -->"Here's my detailed review and breakdown of the entire thing, and you just realize at some point we're all— that's just another expression of love—

			Woman: You're cool about that, but [[w:J.K. Rowling\|J.K. Rowling]] gets really mad if you do that.

			RDM: Yeah, you got— personally, you just have to detach from it, it's— I feel— I like the show, and I'm gonna like the show whether you like it or not, and I'm gonna dislike it, whether you like it or not, and I— you have to be comfortable with that and just say "I'm making the show, this is what I want it to be, and this is what my vision of it is, <!-- 59:00 -->and I hope that other people agree, but if they don't, I'm—" you have to be OK with that too. <!-- 59:04 -->

Catrope: /* Stand-alone episodes */ sectioning, tweaks

2008-04-29T14:24:06Z

Stand-alone episodes: sectioning, tweaks

Catrope: /* Stand-alone episodes */ transcribed till 50:18

2008-04-29T13:50:32Z

Stand-alone episodes: transcribed till 50:18

← Older revision		Revision as of 13:50, 29 April 2008
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	RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the (unintelligible). And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.		RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the (unintelligible). And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.

	Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->		Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->with a lot of tension, that a lot of shows do, which I hate.

			RDM: We do get— we have been told— everyone's— I mean, the [[Season 1 (2004-05)\|first season]] I got the note a lot, about "can't we just do some happier episodes—

			(laughter)

			RDM: —can't we just do a birthday <!-- 47:00 -->party on ''Galactica''?"

			Woman: Basketball games!

			RDM: "Can't we just go and do some basketball games?" And when I got that note, I just being who I am, I said "OK, I'll give you a birthday party", and that's how the beginning of "[[Act of Contrition]]" started, because the beginning of that episode is one where they're celebrating [[Flattop]]'s fourth— one thousanth landing, and they're all happy, and they're gonna celebrate, and then I killed like twenty people—

			(laughter)

			RDM: —immediately, and I literally got the— y'know, I got a phone call later saying "OK, we're never gonna ask you for a party ever again, <!-- 47:30 -->'cause this is what happens otherwise".

			Woman: But aren't there some times where you can do something that can have a comedic twist to it, like for example, it just seems that when everyone wants to have sex, they quickly just get rid of the combat boots. I would like ''one scene'' where they're trying to get these combat boots off, and they just can't— y'know? As many of us have— y'know, like my brother and sister in law were in the miltary, I mean it took them forever to take off those boots. And you guys have a (unintelligible) of science where they're like flipping them off, <!-- 48:00 -->I mean—

			RDM: Yeah, we haven't done much in the way— I mean, the small, little bons mots that we have in the show really ring out, because you're s— they relieve the tension so well.

			Woman: Yeah, like that.

			RDM: We don't do enough comedy, certainly.

			Woman: This one had a lot of funny bits in it.

			Man: Yeah, Baltar's—

			Woman: Yeah, that's one thing—

			RDM: Well, Callis– y'know, [[James Callis]], he's brilliant for that. He really sells the comedy of the character. And none of that was on the page— I mean, in the [[Miniseries]]— I always saw Gaius Baltar in the Miniseries as a very complicated, very morally <!-- 48:30 -->ambiguous character that I really liked, but I didn't think it was funny. And James came in, and just came with a sense of humor to it all, that just made the whole character sing, <!-- ? -->so that was a big contribution into this.

			Woman: So what are some of your other favorite TV shows?

			RDM: I ''love'' "[[w:The Sopranos\|The Sopranos]]", I think "The Sopranos" may be the greatest TV show of all time, I just think it's such an amazingly morally ambiguous and really deep and rich universe that they've created <!-- 49:00 -->with those characters, and I just— I'm in awe there, and I wish I could write that well. That's a really great show. I watch [[w:Bill Maher\|Bill Maher]], we watch "[[w:Project Runway\|Project Runway]]"—

			(laughter)

			RDM: —we watch "Boon Docks" <!-- spelling? link? -->, and "[[w:Robot Chicken\|Robot Chicken]]", and err—

			Terry: <!-- Just guessing this is Terry -->And hours and hours and hours of "[[w:Seinfeld\|Seinfeld]]".

			RDM: Hours of "Seinfeld", I watch at least two episodes of "Seinfeld" a day, just to keep me sane.

			Terry: He knows— he can recite the lives of (unintelligible).

			RDM: Paul (unintelligible) report.

			Terry: We watch Paul (unintelligible) report and all morning— <!-- 49:30 -->Sunday morning local shows.

			RDM: With Press <!-- ? --> and—

			Terry: —Washing Week <!-- ? --> and—

			RDM: —Situation Room every day.

			Terry: Situation Room every day. We have lunch over Situation Room. We meet in the TV room.

			RDM: I've seen [[w:Wolf Blitzer\|Wolf Blitzer]] in New York.

			Man: I thought you'd like speculative fiction shows.

			RDM: I don't— y'know, and I don't watch a lot of hours dramas because with Sci Fi or speculative fiction and hour dramas in general, I have trouble sinking into them because I've become very analytical with them: I watch them <1-- 50:00 -->and a part of my brain is literally thinking "well, OK, this is the act 2 break, and they've gotten this far in the story, and OK, I've seen this many sets, this many guest cast", and I wonder how ma— how they're gonna do this location and about how many pages— and I just— I'm analyzing it as a showrunner, and it's hard to just—

			Woman: You don't wanna watch with him. <!-- 50:18 -->

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2007-09-28T13:15:33Z

Adding Podcast Data template showcase

@@ Line 1: / Line 1: @@
 {{podcastinpro}}
-<!-- For reference purposes: this podcast has a running time of 78:27 -->
+{{Podcast Data
-__TOC__
+|special= Y
 == Introduction ==
 [[Ronald D. Moore|RDM]]: It's on.

Catrope: correcting timestamp

2007-07-04T22:08:02Z

correcting timestamp

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	(Crosstalk)		(Crosstalk)

	Woman: It sounds as though you're talking about maybe two more seasons. If that's the <!-- 41:30 -->case, have you already started thinking about what you wanna do next, or are you just concentrating on those two more seasons?		Woman: It sounds as though you're talking about maybe two more seasons. If that's the <!-- 42:30 -->case, have you already started thinking about what you wanna do next, or are you just concentrating on those two more seasons?

	RDM: Personally?		RDM: Personally?

Catrope: /* Reactions to Starbuck's death and return */ add section headers, correcting links

2007-06-07T20:29:24Z

Reactions to Starbuck's death and return: add section headers, correcting links

← Older revision		Revision as of 20:29, 7 June 2007
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	Terry: <!-- 37:00 -->Nobody (unintelligible) did.		Terry: <!-- 37:00 -->Nobody (unintelligible) did.

			=== Taking risks with the finale ===
	Other woman: Do you guys have any (unintelligible) as to (unintelligible) anybody (unintelligible) problems with, or—?		Other woman: Do you guys have any (unintelligible) as to (unintelligible) anybody (unintelligible) problems with, or—?

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	(laughter)		(laughter)

	RDM: And just go for it. Just go for the story, and that the story— that the way the story was going to work, because I— we only talked about <!-- 39:30-->doing this in the context of "OK, what's the end of the show? What's the third act of ''Battlestar Galactica'', if ''Galactica'' has a beginning, middle and end, what's the end?" And this episode, to me, pushes us to the end. This is now— we're now moving into the final chapters of what the show is, what's the climax, where is it all going. And in that context, I can say: yes, Tigh is a Cylon. These four people are Cylons. 'Cause it's gonna tie ~~into~~ where we're ultimately going.		=== Moving towards the end ===

			RDM: And just go for it. Just go for the story, and that the story— that the way the story was going to work, because I— we only talked about <!-- 39:30-->doing this in the context of "OK, what's the end of the show? What's the third act of ''Battlestar Galactica'', if ''Galactica'' has a beginning, middle and end, what's the end?" And this episode, to me, pushes us to the end. This is now— we're now moving into the final chapters of what the show is, what's the climax, where is it all going. And in that context, I can say: yes, Tigh is a Cylon. These four people are Cylons. 'Cause it's gonna tie in to where we're ultimately going.

	Woman: So if this was—		Woman: So if this was—
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	Woman: (unintelligible) wanna be renewed?		Woman: (unintelligible) wanna be renewed?

	RDM: I don't think we should, I don't think this is a show that should go indefinitely. I think this is a show that has a specific arc to it, and I think that there are series, like, say, ''[[w:Law ~~and~~ Order\|Law ~~and~~ Order]]'', that will go on in perpetuity, because they're not tied to any particular narrative. This show, has a promise <!-- 40:30 -->that we tell you each week in the main title, it's the search for Earth. And ultimately, if we don't get there on some sort of realistic agenda, I think you stop believing what we're doing every week.		RDM: I don't think we should, I don't think this is a show that should go indefinitely. I think this is a show that has a specific arc to it, and I think that there are series, like, say, ''[[w:Law & Order\|Law & Order]]'', that will go on in perpetuity, because they're not tied to any particular narrative. This show, has a promise <!-- 40:30 -->that we tell you each week in the main title, it's the search for Earth. And ultimately, if we don't get there on some sort of realistic agenda, I think you stop believing what we're doing every week.

	(Crosstalk)		(Crosstalk)
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	Other woman: I'm just thinking, we just saw Earth.		Other woman: I'm just thinking, we just saw Earth.

	RDM: Right. I think you get to Earth, and that's a story in and of itself, of what (unintelligible) means. But I think that the show has a certain narrative arc to it, and I think that— y'know, you just— it's a gut instinct, some series are meant to last a very long time, and some are not. And I think you wanna leave strong, and you wanna leave on your own terms, and you wanna leave the audience wanting more, frankly. You don't wanna get to the point where you <!-- 41:30 -->run it too long, I mean I love [[w:~~MASH~~\|MASH]], MASH was one of my favorite series growing up, and I loved it, and that show ran, I think, eleven years? Ten years? And I don't know that any true fan of MAS*H could tell you that that show shouldn't've left like it— in Season 7 (unintelligible). I mean it went on just to keep going on. And there's a point where your show stops being satisfying, and you're just doing it to keep the ratings, and to do whatever. And I don't think we get that, I think our me— our ratings are kind of soft and OK, and they're good for cable <1-- 42:00 -->and they're good for [[Sci Fi Channel\|this network]], but it's an expensive show to do, and I think if you balance out the risks, I would rather in the show on my own terms— when I know that I can end it, rather than try to get one more season more, and then get a cut off, and not be able to do it in the series.		RDM: Right. I think you get to Earth, and that's a story in and of itself, of what (unintelligible) means. But I think that the show has a certain narrative arc to it, and I think that— y'know, you just— it's a gut instinct, some series are meant to last a very long time, and some are not. And I think you wanna leave strong, and you wanna leave on your own terms, and you wanna leave the audience wanting more, frankly. You don't wanna get to the point where you <!-- 41:30 -->run it too long, I mean I love [[w:MASH\|MASH]], MASH was one of my favorite series growing up, and I loved it, and that show ran, I think, eleven years? Ten years? And I don't know that any true fan of MASH could tell you that that show shouldn't've left like it— in Season 7 (unintelligible). I mean it went on just to keep going on. And there's a point where your show stops being satisfying, and you're just doing it to keep the ratings, and to do whatever. And I don't think we get that, I think our me— our ratings are kind of soft and OK, and they're good for cable <1-- 42:00 -->and they're good for [[Sci Fi Channel\|this network]], but it's an expensive show to do, and I think if you balance out the risks, I would rather in the show on my own terms— when I know that I can end it, rather than try to get one more season more, and then get a cut off, and not be able to do it in the series.

	Man: So now Ron Moore versus [[Galactica 1980]]?		Man: So now Ron Moore versus [[Galactica 1980]]?
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	Woman: Galactica's not a (unintelligible)		Woman: Galactica's not a (unintelligible)

			=== Stand-alone episodes ===

	Other woman: I had a— speaking of the arc, I was curious, because these last two episodes I love, I felt like I was getting towards the end, and very satisfying in moving me towards that, but I was wondering about what the writers were thinking about— mid-season, these last couple of episodes before these last two, felt very internal, talking <!-- 43:30 -->about all the characters and all not really— not so much with the Cylons. So I was wondering about how you guys were thinking about how that felt— fit in with the arc, and—		Other woman: I had a— speaking of the arc, I was curious, because these last two episodes I love, I felt like I was getting towards the end, and very satisfying in moving me towards that, but I was wondering about what the writers were thinking about— mid-season, these last couple of episodes before these last two, felt very internal, talking <!-- 43:30 -->about all the characters and all not really— not so much with the Cylons. So I was wondering about how you guys were thinking about how that felt— fit in with the arc, and—

	RDM: Not that— we weren't that satisfied with it, I think what happens is there's several competing pressures as you're doing a show, and one of the pressures is the network's desire to not make it a completely serialized show. There's an ongoing conversation with the network about— "Well, if the show's too serialized, you're <!-- 44:00 -->keeping out new viewers completely, and you're punishing people who don't watch the show week-to-week. So can you do more stand-alone episodes that you can just tune in to, and not know very much about ''Galactica'' to sort of check it out?" So to answer that pressure you then do things— y'know, where you're doing a one-off episode, where— OK, you can watch— y'know, [[Dirty Hands\|the show about labor relations]], the show where Tyrol gets the [[Colonial ~~Worker's~~ Alliance\|union]] back, that's pretty much a stand-alone episode. I happen to like that episode. <!-- 44:30 -->I don't like the [[A Day ~~In The~~ Life\|Adama meets his— y'know, dreams about his wife episode]] as much, although I liked it in concept a lot. I was very— a strong advocate for doing it. Ultimately, it didn't feel like you really (unintelligible) to very much, but both of those were a result of trying to deal with the pressure "OK, don't do 'em completely serialized, do some shows that are just about characters, that you can do internally." Also, in a practical sense, as a <!-- 45:00 -->producer, we burned up a lot of money early in the season. And the New Caprica storyline was extraordinarily expensive, and—		RDM: Not that— we weren't that satisfied with it, I think what happens is there's several competing pressures as you're doing a show, and one of the pressures is the network's desire to not make it a completely serialized show. There's an ongoing conversation with the network about— "Well, if the show's too serialized, you're <!-- 44:00 -->keeping out new viewers completely, and you're punishing people who don't watch the show week-to-week. So can you do more stand-alone episodes that you can just tune in to, and not know very much about ''Galactica'' to sort of check it out?" So to answer that pressure you then do things— y'know, where you're doing a one-off episode, where— OK, you can watch— y'know, [[Dirty Hands\|the show about labor relations]], the show where Tyrol gets the [[Colonial Workers Alliance\|union]] back, that's pretty much a stand-alone episode. I happen to like that episode. <!-- 44:30 -->I don't like the [[A Day in the Life\|Adama meets his— y'know, dreams about his wife episode]] as much, although I liked it in concept a lot. I was very— a strong advocate for doing it. Ultimately, it didn't feel like you really (unintelligible) to very much, but both of those were a result of trying to deal with the pressure "OK, don't do 'em completely serialized, do some shows that are just about characters, that you can do internally." Also, in a practical sense, as a <!-- 45:00 -->producer, we burned up a lot of money early in the season. And the New Caprica storyline was extraordinarily expensive, and—

	Woman: Explosions.		Woman: Explosions.
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	RDM: And the location of New Caprica was extraordinarily expensive. So what happened was, we had burned up a lot of money in the first four episodes of the season, and we knew we had to pay the pipe at some point, then— that later on in the season we had to do shows that were very much internal, which we call <!-- 45:30 -->"bottle shows", which means it's a show that takes place entirely on the standing sets, almost no visual effects, virtually no guest cast, nothing else, it's just like (snaps fingers) do a show that's two characters caught in the elevator.		RDM: And the location of New Caprica was extraordinarily expensive. So what happened was, we had burned up a lot of money in the first four episodes of the season, and we knew we had to pay the pipe at some point, then— that later on in the season we had to do shows that were very much internal, which we call <!-- 45:30 -->"bottle shows", which means it's a show that takes place entirely on the standing sets, almost no visual effects, virtually no guest cast, nothing else, it's just like (snaps fingers) do a show that's two characters caught in the elevator.

	Woman: And it's not just ''Battlestar Galactica'', watch ''[[w:24\|24]]'' some times, see— look for that show where there's that episode where they never leave the office. That's—		Woman: And it's not just ''Battlestar Galactica'', watch ''[[w:24 (TV series)\|24]]'' some times, see— look for that show where there's that episode where they never leave the office. That's—

	RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the (unintelligible). And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.		RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the (unintelligible). And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.

	Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->		Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->

Catrope: /* Reactions to Starbuck's death and return */ Transcribed 37:00 through 46:51, will add headers later

2007-06-07T19:28:01Z

Reactions to Starbuck's death and return: Transcribed 37:00 through 46:51, will add headers later

@@ Line 435: / Line 435: @@
 People: Yeah
-RDM: Well that was— y'know, I knew it'd be a tough thing, I mean we took her out of the main title credit, which I thought was pretty slick, then actually give people (unintelligible). But err, yeah, we knew that that was gonna be a tough sell—
+RDM: Well that was— y'know, I knew it'd be a tough thing, I mean we took her out of the main title credit, which I thought was pretty slick, then actually give people (unintelligible). But err, yeah, we knew that that was gonna be a tough sell all the way to the end.
-Woman: <!-- 37:00 -->Nobody (unintelligible).
+Terry: <!-- 37:00 -->Nobody (unintelligible) did.

Catrope: rm empty lines

2007-05-20T10:54:28Z

rm empty lines

← Older revision		Revision as of 10:54, 20 May 2007
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	RDM: It's the voice of the fans. So we'll pause right here...		RDM: It's the voice of the fans. So we'll pause right here...

	<!-- 0:39 -->		<!-- 0:39 -->

	== Act 4 of "Crossroads, Part II" ==		== Act 4 of "Crossroads, Part II" ==
	RDM: OK, here we go.		RDM: OK, here we go.
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	Someone: I knew [[Kara Thrace\|she]] wasn't dead!		Someone: I knew [[Kara Thrace\|she]] wasn't dead!

	Woman: That was righteous.		Woman: That was righteous. <!--12:50 -->

	<!-- 12:50 -->

	== Discussion ==		== Discussion ==
	~~<!-- 12:50 -->~~

	=== Reactions ===		=== Reactions ===
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	=== Choosing the Final Five ===		=== Choosing the Final Five ===

	Man: Last time you gambled with our perception of how character develop and- leave a big gap, but now, right now I think the biggest gap is how do you explain [[Saul Tigh\|Tigh]]. He's been there for so long—		Man: Last time you gambled with our perception of how character develop and- leave a big gap, but now, right now I think the biggest gap is how do you explain [[Saul Tigh\|Tigh]]. He's been there for so long—

← Older revision		Revision as of 14:24, 29 April 2008
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	(laughter)		(laughter)

	RDM: And the location of New Caprica was extraordinarily expensive. So what happened was, we had burned up a lot of money in the first four episodes of the season, and we knew we had to pay the pipe at some point, then— that later on in the season we had to do shows that were very much internal, which we call <!-- 45:30 -->"bottle shows", which means it's a show that takes place entirely on the standing sets, almost no visual effects, virtually no guest cast, nothing else, it's just like (snaps fingers) do a show that's two characters caught in the elevator.		RDM: And the location of New Caprica was extraordinarily expensive. So what happened was, we had burned up a lot of money in the first four episodes of the season, and we knew we that had to pay the pipe at some point, then— that later on in the season we had to do shows that were very much internal, which we call <!-- 45:30 -->"bottle shows", which means it's a show that takes place entirely on the standing sets, almost no visual effects, virtually no guest cast, nothing else, it's just like (snaps fingers) do a show that's two characters caught in the elevator.

	Woman: And it's not just ''Battlestar Galactica'', watch ''[[w:24 (TV series)\|24]]'' some times, see— look for that show where there's that episode where they never leave the office. That's—		Woman: And it's not just ''Battlestar Galactica'', watch ''[[w:24 (TV series)\|24]]'' some times, see— look for that show where there's that episode where they never leave the office. That's—

	RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the ~~(unintelligible)~~. And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.		RDM: Some times— at some point you're just trying to save money, and those episodes are money-saving— and it's also the difference between <!-- 46:00 -->doing a 13-episode order and a 20-episode order. When you're doing 13, you just craft them differently, and you have more energy, you have more passion, you can develop more time to each individual episode and really craft it and make it a perfect little movie. And we're doing 20, so we're just going to slip past the goalie. And that just happens, and you do your best, and some times they don't work as well, and I think in the second half of Season 2 and the second half of Season 3, you could see that there were just episodes where we were <!-- 46:30 -->tired, where we had to do shows that were more cheaply done, and we were trying to deal with the fact that the network is always saying "Can't we do some more stand-alone shows?", and so those add up to episodes that aren't satisfying.

			=== Happier episodes ===

	Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->with a lot of tension, that a lot of shows do, which I hate.		Woman: At least you don't do the obligatory silly episode after something <!-- 46:51 -->with a lot of tension, that a lot of shows do, which I hate.
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	Woman: Basketball games!		Woman: Basketball games!

	RDM: "Can't we just go and do some basketball games?" And when I got that note, I just being who I am, I said "OK, I'll give you a birthday party", and that's how the beginning of "[[Act of Contrition]]" started, because the beginning of that episode is one where they're celebrating [[Flattop]]'s fourth— one thousanth landing, and they're all happy, and they're gonna celebrate, and then I killed like twenty people—		RDM: "Can't we just go and do some basketball games?" And when I got that note, I just being who I am, I said "OK, I'll give you a birthday party", and that's how the beginning of "[[Act of Contrition]]" started, because the beginning of that episode is the one where they're celebrating [[Flattop]]'s fourth— one thousanth landing, and they're all happy, and they're gonna celebrate, and then I killed like twenty people—

	(laughter)		(laughter)
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	RDM: —immediately, and I literally got the— y'know, I got a phone call later saying "OK, we're never gonna ask you for a party ever again, <!-- 47:30 -->'cause this is what happens otherwise".		RDM: —immediately, and I literally got the— y'know, I got a phone call later saying "OK, we're never gonna ask you for a party ever again, <!-- 47:30 -->'cause this is what happens otherwise".

	Woman: But aren't there some times where you can do something that can have a comedic twist to it, like for example, it just seems that when everyone wants to have sex, they quickly just get rid of the combat boots. I would like ''one scene'' where they're trying to get these combat boots off, and they just can't— y'know? As many of us have— y'know, like my brother and sister in law were in the ~~miltary~~, I mean it took them forever to take off those boots. And you guys have a (unintelligible) of science where they're like flipping them off, <!-- 48:00 -->I mean—		Woman: But aren't there some times where you can do something that can have a comedic twist to it, like for example, it just seems that when everyone wants to have sex, they quickly just get rid of the combat boots. I would like ''one scene'' where they're trying to get these combat boots off, and they just can't— y'know? As many of us have— y'know, like my brother and sister in law were in the military, I mean it took them forever to take off those boots. And you guys have a (unintelligible) of science where they're like flipping them off, <!-- 48:00 -->I mean—

	RDM: Yeah, we haven't done much in the way— I mean, the small, little bons mots that we have in the show really ring out, because you're s— they relieve the tension so well.		RDM: Yeah, we haven't done much in the way— I mean, the small, little bons mots that we have in the show really ring out, because you're s— they relieve the tension so well.

	Woman: Yeah, like that.		Woman: Yeah, I like that.

	RDM: We don't do enough comedy, certainly.		RDM: We don't do enough comedy, certainly.
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	Woman: Yeah, that's one thing—		Woman: Yeah, that's one thing—

	RDM: Well, Callis– y'know, [[James Callis]], he's brilliant for that. He really sells the comedy of the ~~character~~. And none of that was on the page— I mean, in the [[Miniseries]]— I always saw Gaius Baltar in the Miniseries as a very complicated, very morally <!-- 48:30 -->ambiguous character that I really liked, but I didn't think it was funny. And James came in, and just came with a sense of humor to it all, that just made the whole character sing, <!-- ? -->so that was a big contribution into this.		RDM: Well, Callis– y'know, [[James Callis]], he's brilliant for that. He really sells the comedy of the show. And none of that was on the page— I mean, in the [[Miniseries]]— I always saw Gaius Baltar in the Miniseries as a very complicated, very morally <!-- 48:30 -->ambiguous character that I really liked, but I didn't think it was funny. And James came in, and just came with a sense of humor to it all, that just made the whole character really sing, <!-- ? -->so that was a big contribution into this.

			=== Moore's favorite TV shows ===

	Woman: So what are some of your other favorite TV shows?		Woman: So what are some of your other favorite TV shows?
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	RDM: Paul (unintelligible) report.		RDM: Paul (unintelligible) report.

	Terry: We watch Paul (unintelligible) report and all morning— <!-- 49:30 -->Sunday morning local shows.		Terry: We watch Paul (unintelligible) report and all the morning— <!-- 49:30 -->Sunday morning local shows.

	RDM: With Press <!-- ? --> and—		RDM: With Press <!-- ? --> and—
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	Terry: Situation Room every day. We have lunch over Situation Room. We meet in the TV room.		Terry: Situation Room every day. We have lunch over Situation Room. We meet in the TV room.

	RDM: I've seen [[w:Wolf Blitzer\|Wolf Blitzer]] ~~in New York~~.		RDM: I've seen [[w:Wolf Blitzer\|Wolf Blitzer]] (unintelligible).

	Man: I thought you'd like speculative fiction shows.		Man: I thought you'd like speculative fiction shows.

	RDM: I don't— y'know, and I don't watch a lot of ~~hours~~ dramas because with ~~Sci Fi~~ or speculative fiction and hour dramas in general, I have trouble sinking into them because I've become very analytical with them: I watch them <1-- 50:00 -->and a part of my brain is literally thinking "well, OK, this is the act 2 break, and they've gotten this far in the story, and OK, I've seen this many sets, this many guest cast", and I wonder how ma— how they're gonna do this location and about how many pages— and I just— I'm analyzing it as a showrunner, and it's hard to just—		RDM: I don't— y'know, and I don't watch a lot of hour dramas because with sci fi or speculative fiction and hour dramas in general, I have trouble sinking into them because I've become very analytical with them: I watch them <!-- 50:00 -->and a part of my brain is literally thinking "well, OK, this is the act 2 break, and they've gotten this far in the story, and OK, I've seen this many sets, this many guest cast", and I wonder how ma— how they're gonna do this location and about how many pages— and I just— I'm analyzing it as a showrunner, and it's hard to just—

	Woman: You don't wanna watch with him. <!-- 50:18 -->		Woman: You don't wanna watch with him. <!-- 50:18 -->