Podcast:Hero - Revision history

Joe Beaudoin Jr.: Text replacement - "[[The Twelve Colonies (RDM)" to "[[The Twelve Colonies of Kobol"

2025-06-15T21:31:50Z

Text replacement - "[[The Twelve Colonies (RDM)" to "[[The Twelve Colonies of Kobol"

← Older revision		Revision as of 21:31, 15 June 2025
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	Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we affectionately call episode seven, "[[Hero]]". And there won't be any Scotch today. It's a little too early in the day, even for a hardcore like me. (Lights a cigarette.) The smokes are [[w:Nat Sherman\|Shermans]]. Trying a little somethin' different. So[mething] actually my wife recommended from back in her smoking days. She no longer imbi— partakes of the tobacco leaf. But I do on occasion. I don't smoke nearly as much as all of you think I do.		Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we affectionately call episode seven, "[[Hero]]". And there won't be any Scotch today. It's a little too early in the day, even for a hardcore like me. (Lights a cigarette.) The smokes are [[w:Nat Sherman\|Shermans]]. Trying a little somethin' different. So[mething] actually my wife recommended from back in her smoking days. She no longer imbi— partakes of the tobacco leaf. But I do on occasion. I don't smoke nearly as much as all of you think I do.

	Anyway. Episode seven, "Hero". This one was a little bit more of a one-off than what we typically do. A little bit more of a single, self contained story carrying us through the whole episode. We felt at the beginning of the season we had arced out the entire [[New Caprica]] storyline that took us through to "[[Exodus, Part II\|Exodus]]" and then into "[[Collaborators]]", and then we had this two-part episode that developed that was about the [[Lymphocytic encephalitis\|infected]] [[Basestar (RDM)\|baseship]] and the consequences of that, culminating in the decision of whether or not the people on [[Galactica (RDM)\|''Galactica'']] were going to use the biological weapon. And then after that we wanted to do a series of a little bit more contained episodes that weren't quite as serialized, didn't have as many long-running storylines as we had been playing for a while. And so one of the first ones that came up was this story, "Hero". This is written by [[David Eick]], my producing partner. And the origins of this, though, actually go back a little bit further than [[Season 3 (2006-07)\|this season]]. This was initially a concept that was pitched during the [[Season 2 (2005-06)\|second season]] by [[David Weddle]]. I believe this is his idea. It might have been him and [[Bradley Thompson\|his partner]], right? I remember David mentioning it in the room, had this idea that they would discover something about [[William Adama\|Adama]]. That Adama would— had been holding a secret that essentially he was holding the idea that— holding secret the idea that he had participating in a [[w:Black op\|black op]] mission before the [[Fall of the Twelve Colonies\|Cylon attack]]. And that he would secretly blame himself, on some level, for helping to prompt the Cylon attack on [[The Twelve Colonies ~~(RDM)~~\|the Colonies]] itself. Which is a pretty big idea, and it took a lot of discussion. We were like, "Ok. What does that mean in concrete terms?" I liked the idea that there were black ops operations going on amid the Colonials before the Cylon attack. After all, forty y— our backstory is that there's forty years between the last Cylon— the first [[Cylon War]] and the attack on the Colonies. And it seemed plausible that the [[Colonial Fleet (RDM)\|Colonial Fleet]] had been doing something during that whole time and it was curious to see what was going on the other side of the [[Armistice Line]].		Anyway. Episode seven, "Hero". This one was a little bit more of a one-off than what we typically do. A little bit more of a single, self contained story carrying us through the whole episode. We felt at the beginning of the season we had arced out the entire [[New Caprica]] storyline that took us through to "[[Exodus, Part II\|Exodus]]" and then into "[[Collaborators]]", and then we had this two-part episode that developed that was about the [[Lymphocytic encephalitis\|infected]] [[Basestar (RDM)\|baseship]] and the consequences of that, culminating in the decision of whether or not the people on [[Galactica (RDM)\|''Galactica'']] were going to use the biological weapon. And then after that we wanted to do a series of a little bit more contained episodes that weren't quite as serialized, didn't have as many long-running storylines as we had been playing for a while. And so one of the first ones that came up was this story, "Hero". This is written by [[David Eick]], my producing partner. And the origins of this, though, actually go back a little bit further than [[Season 3 (2006-07)\|this season]]. This was initially a concept that was pitched during the [[Season 2 (2005-06)\|second season]] by [[David Weddle]]. I believe this is his idea. It might have been him and [[Bradley Thompson\|his partner]], right? I remember David mentioning it in the room, had this idea that they would discover something about [[William Adama\|Adama]]. That Adama would— had been holding a secret that essentially he was holding the idea that— holding secret the idea that he had participating in a [[w:Black op\|black op]] mission before the [[Fall of the Twelve Colonies\|Cylon attack]]. And that he would secretly blame himself, on some level, for helping to prompt the Cylon attack on [[The Twelve Colonies of Kobol\|the Colonies]] itself. Which is a pretty big idea, and it took a lot of discussion. We were like, "Ok. What does that mean in concrete terms?" I liked the idea that there were black ops operations going on amid the Colonials before the Cylon attack. After all, forty y— our backstory is that there's forty years between the last Cylon— the first [[Cylon War]] and the attack on the Colonies. And it seemed plausible that the [[Colonial Fleet (RDM)\|Colonial Fleet]] had been doing something during that whole time and it was curious to see what was going on the other side of the [[Armistice Line]].

	This little opening sequence here with [[Laura Roslin\|Laura]] and the picture [painting of President Baltar], which we just went past in ''[[Colonial One]]'', like I've said before, I want that picture for my own. That'll have a point of pride in my own home someday of [[Gaius Baltar\|Baltar]]. And I think David knew that, and I think that's why he wrote in that little piece about putting Baltar's picture over the toilet. I don't think it was so much a slam against [[James Callis\|James]] and the— or the character as it was tweaking me that my coveted picture was going above the toilet.		This little opening sequence here with [[Laura Roslin\|Laura]] and the picture [painting of President Baltar], which we just went past in ''[[Colonial One]]'', like I've said before, I want that picture for my own. That'll have a point of pride in my own home someday of [[Gaius Baltar\|Baltar]]. And I think David knew that, and I think that's why he wrote in that little piece about putting Baltar's picture over the toilet. I don't think it was so much a slam against [[James Callis\|James]] and the— or the character as it was tweaking me that my coveted picture was going above the toilet.
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	A lot of the backstory, in terms of his mission, was influenced by the [[w:U-2 Crisis of 1960\|U-2 incident]] with [[w:Gary Powers\|Gary Powers]] in the 1950s where Gary Powers was on a secret mission over the [[w:Soviet Union\|Soviet Union]], flying for the [[w:Central Intelligence Agency\|CIA]], I believe, and was shot down by the Soviets and there was— everyone d— the [[w:United States\|US]] denied up and down that it was happening, and then of course the Soviets produced the pilot and that put the lie to what [[w:Dwight D. Eisenhower\|Eisenhower]] had been telling the world and became a huge international incident.		A lot of the backstory, in terms of his mission, was influenced by the [[w:U-2 Crisis of 1960\|U-2 incident]] with [[w:Gary Powers\|Gary Powers]] in the 1950s where Gary Powers was on a secret mission over the [[w:Soviet Union\|Soviet Union]], flying for the [[w:Central Intelligence Agency\|CIA]], I believe, and was shot down by the Soviets and there was— everyone d— the [[w:United States\|US]] denied up and down that it was happening, and then of course the Soviets produced the pilot and that put the lie to what [[w:Dwight D. Eisenhower\|Eisenhower]] had been telling the world and became a huge international incident.

	We played a lot with what the backstory actually was. At some point it was gonna be more about the [[The Twelve Colonies ~~(RDM)~~#Tauron\|Taurons]] which— who we were setting up as a troublesome colony within the [[Government of the Twelve Colonies\|federal system]] of [[The Twelve Colonies ~~(RDM)~~\|the Colonies]] and that the idea that ''Galactica'' had been sent out to deal with the Taurons and while they were dealing with the Taurons they were taking a— there was an incident around a world that the Taurons were doing some illegal mining and they sent ''Galactica'' out there to pull them off the planet to force them to leave. And while they were there they were gonna take advantage of the fact that they were near the Cylon border, the Armistice Line, and in some versions of the script the mining was actually taking place on the other side of the Armistice Line and the planet was clearly in Cylon territory and that ''Galactica'' was being sent there to pull them out before the [[Cylons (RDM)\|Cylons]] found them. And then they were gonna take advantage of the situation and do the recon mission anyway. All of that became wildly complicated so we stripped down the story, and stripped it down, stripped it down, to just make it very simple.		We played a lot with what the backstory actually was. At some point it was gonna be more about the [[The Twelve Colonies of Kobol#Tauron\|Taurons]] which— who we were setting up as a troublesome colony within the [[Government of the Twelve Colonies\|federal system]] of [[The Twelve Colonies of Kobol\|the Colonies]] and that the idea that ''Galactica'' had been sent out to deal with the Taurons and while they were dealing with the Taurons they were taking a— there was an incident around a world that the Taurons were doing some illegal mining and they sent ''Galactica'' out there to pull them off the planet to force them to leave. And while they were there they were gonna take advantage of the fact that they were near the Cylon border, the Armistice Line, and in some versions of the script the mining was actually taking place on the other side of the Armistice Line and the planet was clearly in Cylon territory and that ''Galactica'' was being sent there to pull them out before the [[Cylons (RDM)\|Cylons]] found them. And then they were gonna take advantage of the situation and do the recon mission anyway. All of that became wildly complicated so we stripped down the story, and stripped it down, stripped it down, to just make it very simple.

	Again, the idea that Adama feels personally responsible for the attack on the Colonies is an interesting one. That it tapped into his own deep-seated insecurities about his life as a military officer and some of the decisions he's been forced to make down through the years. And that, "What was the responsibility of the Colonials for what happened to them?" That had Adama done something, he could plausibly look back and say, "Maybe I had a hand in the attack as well."		Again, the idea that Adama feels personally responsible for the attack on the Colonies is an interesting one. That it tapped into his own deep-seated insecurities about his life as a military officer and some of the decisions he's been forced to make down through the years. And that, "What was the responsibility of the Colonials for what happened to them?" That had Adama done something, he could plausibly look back and say, "Maybe I had a hand in the attack as well."

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2008-02-27T20:53:45Z

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-{{podcast|author=Steelviper|emailAuthor2=|suffix=|additionalCopyright=|season=3|episode=8}}
+{{Podcast Data
 == Teaser ==
 Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we affectionately call episode seven, "[[Hero]]". And there won't be any Scotch today. It's a little too early in the day, even for a hardcore like me. (Lights a cigarette.) The smokes are [[w:Nat Sherman|Shermans]]. Trying a little somethin' different. So[mething] actually my wife recommended from back in her smoking days. She no longer imbi— partakes of the tobacco leaf. But I do on occasion. I don't smoke nearly as much as all of you think I do.

Mercifull: adding podcast list

2007-04-19T11:05:25Z

adding podcast list

← Older revision		Revision as of 11:05, 19 April 2007
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	And that's "[[Hero]]". That's episode seven. I think it's an interesting episode. I think it's a little more conventional than many of the episodes that we typically do. I think that at the end of the day it's the kind of episode that is a solid single, for us. It accomplishes everything it sets out to accomplish. It's a standalone episode so new viewers are not lost in the giant backstory. And I think it provides an interesting bit of texture and background to Adama and [[Galactica (RDM)\|''Galactica'']]— Adama and Tigh. So thank you for listening, that's the end of the podcast, and I will talk to you again for "[[Unfinished Business]]", episode eight, which is one of my personal favorites of the season and of the series. So take care, good night, and good luck.		And that's "[[Hero]]". That's episode seven. I think it's an interesting episode. I think it's a little more conventional than many of the episodes that we typically do. I think that at the end of the day it's the kind of episode that is a solid single, for us. It accomplishes everything it sets out to accomplish. It's a standalone episode so new viewers are not lost in the giant backstory. And I think it provides an interesting bit of texture and background to Adama and [[Galactica (RDM)\|''Galactica'']]— Adama and Tigh. So thank you for listening, that's the end of the podcast, and I will talk to you again for "[[Unfinished Business]]", episode eight, which is one of my personal favorites of the season and of the series. So take care, good night, and good luck.
	<!-- 45:20 -->		<!-- 45:20 -->

			{{Podcast list (RDM season 3)}}

Steelviper: + season, episode variables

2007-02-27T18:03:47Z

+ season, episode variables

← Older revision		Revision as of 18:03, 27 February 2007
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	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=3\|episode=8}}
	== Teaser ==		== Teaser ==
	Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we affectionately call episode seven, "[[Hero]]". And there won't be any Scotch today. It's a little too early in the day, even for a hardcore like me. (Lights a cigarette.) The smokes are [[w:Nat Sherman\|Shermans]]. Trying a little somethin' different. So[mething] actually my wife recommended from back in her smoking days. She no longer imbi— partakes of the tobacco leaf. But I do on occasion. I don't smoke nearly as much as all of you think I do.		Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we affectionately call episode seven, "[[Hero]]". And there won't be any Scotch today. It's a little too early in the day, even for a hardcore like me. (Lights a cigarette.) The smokes are [[w:Nat Sherman\|Shermans]]. Trying a little somethin' different. So[mething] actually my wife recommended from back in her smoking days. She no longer imbi— partakes of the tobacco leaf. But I do on occasion. I don't smoke nearly as much as all of you think I do.

TypoFixer: typos, dashes, add context to some RDM statements

2007-01-25T06:06:39Z

typos, dashes, add context to some RDM statements

Show changes

Catrope: /* Act 1 */ sp

2007-01-24T20:01:24Z

Act 1: sp

← Older revision		Revision as of 20:01, 24 January 2007
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	There were various versions of [[Laura Roslin\|Laura]]'s involvement in the storyline. In early drafts, Laura started to smell a rat pretty early in the show. Probably at the same point, structurally, as she does now, when she's in the scene coming up with Laura- with [[William Adama\|Adama]] and [[Tory Foster\|Tory]] and [[Daniel Novacek\|Novacek]]. But afte- Oh there's a great visual effects still showing some of the damage from the [[New Caprica]] storyline. This little scene- anyway. Laura, in early drafts, started to smell a rat, realizes something was wrong. Adama wouldn't tell her. And so what she did was to enlist [[Lee Adama\|Lee]]. She got Lee to do some digging and try to find out what the secret was that Adama was trying to hide. And in those early drafts, what he had was, he had actual audio tapes of the encounter- of the mission. There were secret tapes that were somewhere in the- [[Galactica (RDM)\|''Galactica'']]'s audio archives that we were saying. There was an actual room with audio archives on analog tapes, in keeping with the fact that the ''Galactica'' computers are not nearly as powerful as our- as many modern day computers are, and they're not networked, etc. So there were actual tape banks down below some place that mission tapes were kept in, and there was a secret one that had the exchanges between Adama and Bulldog aboard the ''[[Valkyrie]]''. Now some of the- we started running into all kinds of problems with that particular storyline. I had trouble believing that the audio tapes of Adama aboard the Valkyrie- he had kept, versus destroying, and that he had kept them and transferred them to ''Galactica'' where they could be found. And Lee was going to find them and play them back and confront his father with the truth and his father was going to be very upset and angry. I think in one draft Adama even hauled off and smack- and hit Lee, for the first time, which was what's- gonna be a- an amazing moment but, didn't feel like we had really earned it legitimately, so we started backing off the idea of the tapes. There was something provocative about hearing the tapes. It was the scene at the beginning of [[w:Apocalypse Now\|''Apocalypse Now'']] where they're playing the tapes of Colonel Kurtz, or it was like the conversation. Here's a tape of something from the past and it gave Lee a real drive in the show to find out what was going on. I'll come back to that later.		There were various versions of [[Laura Roslin\|Laura]]'s involvement in the storyline. In early drafts, Laura started to smell a rat pretty early in the show. Probably at the same point, structurally, as she does now, when she's in the scene coming up with Laura- with [[William Adama\|Adama]] and [[Tory Foster\|Tory]] and [[Daniel Novacek\|Novacek]]. But afte- Oh there's a great visual effects still showing some of the damage from the [[New Caprica]] storyline. This little scene- anyway. Laura, in early drafts, started to smell a rat, realizes something was wrong. Adama wouldn't tell her. And so what she did was to enlist [[Lee Adama\|Lee]]. She got Lee to do some digging and try to find out what the secret was that Adama was trying to hide. And in those early drafts, what he had was, he had actual audio tapes of the encounter- of the mission. There were secret tapes that were somewhere in the- [[Galactica (RDM)\|''Galactica'']]'s audio archives that we were saying. There was an actual room with audio archives on analog tapes, in keeping with the fact that the ''Galactica'' computers are not nearly as powerful as our- as many modern day computers are, and they're not networked, etc. So there were actual tape banks down below some place that mission tapes were kept in, and there was a secret one that had the exchanges between Adama and Bulldog aboard the ''[[Valkyrie]]''. Now some of the- we started running into all kinds of problems with that particular storyline. I had trouble believing that the audio tapes of Adama aboard the Valkyrie- he had kept, versus destroying, and that he had kept them and transferred them to ''Galactica'' where they could be found. And Lee was going to find them and play them back and confront his father with the truth and his father was going to be very upset and angry. I think in one draft Adama even hauled off and smack- and hit Lee, for the first time, which was what's- gonna be a- an amazing moment but, didn't feel like we had really earned it legitimately, so we started backing off the idea of the tapes. There was something provocative about hearing the tapes. It was the scene at the beginning of [[w:Apocalypse Now\|''Apocalypse Now'']] where they're playing the tapes of Colonel Kurtz, or it was like the conversation. Here's a tape of something from the past and it gave Lee a real drive in the show to find out what was going on. I'll come back to that later.

	This scene, the flashback scene aboard the [[Basestar (RDM)\|Cylon baseship]]. Virtually all the dialogue here, interestingly enough, is improvised by [[Lucy Lawless]]. The scene was supposed to be really [[w:MOS (film)\|MOS]], silent, and it was really just her pacing around talking to him in the cage and you weren't gonna really s- hear anything. But on the day Lucy went into character and started improvving all this stuff, all this- I think she and the director worked out this thing with the rattling the bars of the cage, but all of her ~~dialog~~ is actually something that Lucy improvved. And it's great. And we weren't gonna even use it but it was so good that we decided to really use it in the show. And it's really another testament to the contribution of the cast and the actors. The cast are the actors, of course. Of the cast to the show. They really provide a great deal of texture and a great deal of import to their characters and to the scenes and, in this particular case, actually wrote the scene herself. So it's really a testament to Lucy's ability and her identification with the character and her understanding of the world and understanding of what this show is about that she was able to just improv all that off the top of her head.		This scene, the flashback scene aboard the [[Basestar (RDM)\|Cylon baseship]]. Virtually all the dialogue here, interestingly enough, is improvised by [[Lucy Lawless]]. The scene was supposed to be really [[w:MOS (film)\|MOS]], silent, and it was really just her pacing around talking to him in the cage and you weren't gonna really s- hear anything. But on the day Lucy went into character and started improvving all this stuff, all this- I think she and the director worked out this thing with the rattling the bars of the cage, but all of her dialogue is actually something that Lucy improvved. And it's great. And we weren't gonna even use it but it was so good that we decided to really use it in the show. And it's really another testament to the contribution of the cast and the actors. The cast are the actors, of course. Of the cast to the show. They really provide a great deal of texture and a great deal of import to their characters and to the scenes and, in this particular case, actually wrote the scene herself. So it's really a testament to Lucy's ability and her identification with the character and her understanding of the world and understanding of what this show is about that she was able to just improv all that off the top of her head.

	Like I said, the storyline with Laura was going to be Laura realizing that something was amiss. That Laura- there was something- there was a secret Adama was keeping from her and she was gonna get Lee to ferret it out. And when Lee ferreted out the information and found the tapes of his father and confronted him with them, that was when Adama actually resigned. Adama was gonna actually resign command of [[The Fleet (RDM)\|the Fleet]], turn command of the Fleet over to Lee. And it's only after they discover what- that Bulldog's mission- that he was intentionally let go by the [[Cylons (RDM)\|Cylons]] and ordered that he- in order for him to come to ''Galactica'' and disrupt everything and screw with the command and really cause chaos that they pulled back from- that Adama pulled back and was convinced to maintain his command of the Fleet. Like I said, the audio tapes were problematic and hard to believe. And then we just started, for time and space, we started realizing that didn't have really time to do this whole Lee investigative story and that the investigative story was not nearly as interesting as the personal story was. Which is often the case, I find in this show, that ofttimes we concoct these intricate plots and a lot of moving parts to get you to the fourth act and then as you're working through the scripts, as you're working through the drafts, you discover that, or I discover, that the thing that is really interesting to me are all the character moments and how it impacts on the people and I end up cutting plot and simplifying plot to focus on the characters. Which is generally the opposite of how TV is done. I mean, there's an old axiom in television that when you're long the first thing you cut is comedy, the second thing you cut is character, and then, only then, do you start cutting into plot. I often go the opposite. I prefer to hang onto character at all costs and humor is something that we're usually have very, very little of so typically we want to hang onto the little tiny comedic moments whenever and wherever they are. And so I'm loathe to c- but I'm loathe to cut character, ever, so ofttimes I will sacrifice plot for character because, in just my personal view, character is what it's all about and it's all about these people and that's why you're tuning in, week after week, is to see what happens to these people and that the plot mechanics are never quite as interesting as the character dynamics and watching what happens to them.		Like I said, the storyline with Laura was going to be Laura realizing that something was amiss. That Laura- there was something- there was a secret Adama was keeping from her and she was gonna get Lee to ferret it out. And when Lee ferreted out the information and found the tapes of his father and confronted him with them, that was when Adama actually resigned. Adama was gonna actually resign command of [[The Fleet (RDM)\|the Fleet]], turn command of the Fleet over to Lee. And it's only after they discover what- that Bulldog's mission- that he was intentionally let go by the [[Cylons (RDM)\|Cylons]] and ordered that he- in order for him to come to ''Galactica'' and disrupt everything and screw with the command and really cause chaos that they pulled back from- that Adama pulled back and was convinced to maintain his command of the Fleet. Like I said, the audio tapes were problematic and hard to believe. And then we just started, for time and space, we started realizing that didn't have really time to do this whole Lee investigative story and that the investigative story was not nearly as interesting as the personal story was. Which is often the case, I find in this show, that ofttimes we concoct these intricate plots and a lot of moving parts to get you to the fourth act and then as you're working through the scripts, as you're working through the drafts, you discover that, or I discover, that the thing that is really interesting to me are all the character moments and how it impacts on the people and I end up cutting plot and simplifying plot to focus on the characters. Which is generally the opposite of how TV is done. I mean, there's an old axiom in television that when you're long the first thing you cut is comedy, the second thing you cut is character, and then, only then, do you start cutting into plot. I often go the opposite. I prefer to hang onto character at all costs and humor is something that we're usually have very, very little of so typically we want to hang onto the little tiny comedic moments whenever and wherever they are. And so I'm loathe to c- but I'm loathe to cut character, ever, so ofttimes I will sacrifice plot for character because, in just my personal view, character is what it's all about and it's all about these people and that's why you're tuning in, week after week, is to see what happens to these people and that the plot mechanics are never quite as interesting as the character dynamics and watching what happens to them.

TypoFixer: Fix typos

2007-01-24T17:27:54Z

Fix typos

Show changes

PrePressChris: /* Act 4 */ + dropped word (~43:20)

2006-12-06T17:53:04Z

Act 4: + dropped word (~43:20)

← Older revision		Revision as of 17:53, 6 December 2006
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	Actually, the ship he's going to is where we sent [[Boxey (RDM)\|Boxey]], so I think he and Boxey are gonna go and have a very special relationship on their own.		Actually, the ship he's going to is where we sent [[Boxey (RDM)\|Boxey]], so I think he and Boxey are gonna go and have a very special relationship on their own.

	This last little bit with [[Saul Tigh\|Tigh]] is just the first- him on the road back. He's got the [[Uniforms (RDM)\|uniform jacket]] on again. He comes to see his old friend. He's not- he's been pretty anti-social, just hiding out, burrowed in his quarters for many episodes. And this his where his road to recovery officially starts. At the end of earlier drafts, Adama- there was a point where Adama was actually going to give the medal to Saul in the ceremony. It was like a twist where when she gives him the medal he says, "I can't take it, but there's someone- there is someone here who's earned it." And he calls up Tigh and they give him the medal and everyone cheers. And that seemed- it seemed a little melodramatic and also didn't know that Tigh had really earned the medal in any real way or that Adama would give him, or that Tigh would accept it. And it seemed like what was important was the connection between the two men and the personal relationship between the two men. And so as we were working through the drafts I gave the note to just have Tigh come in and start talking about [[Ellen Tigh\|Ellen]]. That, essentially, that was the big thing. That he had never told Adama what had happened down on that planet and what was the- at the core of everything that was going on with him ever since he got back from [[New Caprica]]. So that's why this scene exists is to reunite the two friends in a real way and let him talk about it. And I still like the fact that Tigh comes and asks for a drink, and Adama doesn't judge him about it. He just says, "Me too." And is gonna drink with him, knowing that this is Tigh's problem and accepting that it's Tigh's problem and it's something that the two of them are gonna do together while they sit and talk about the things that neither of them has spoken about.		This last little bit with [[Saul Tigh\|Tigh]] is just the first- him on the road back. He's got the [[Uniforms (RDM)\|uniform jacket]] on again. He comes to see his old friend. He's not- he's been pretty anti-social, just hiding out, burrowed in his quarters for many episodes. And this his where his road to recovery officially starts. At the end of earlier drafts, Adama- there was a point where Adama was actually going to give the medal to Saul in the ceremony. It was like a twist where when she gives him the medal he says, "I can't take it, but there's someone- there is someone here who's earned it." And he calls up Tigh and they give him the medal and everyone cheers. And that seemed- it seemed a little melodramatic and also didn't know that Tigh had really earned the medal in any real way or that Adama would give it to him, or that Tigh would accept it. And it seemed like what was important was the connection between the two men and the personal relationship between the two men. And so as we were working through the drafts I gave the note to just have Tigh come in and start talking about [[Ellen Tigh\|Ellen]]. That, essentially, that was the big thing. That he had never told Adama what had happened down on that planet and what was the- at the core of everything that was going on with him ever since he got back from [[New Caprica]]. So that's why this scene exists is to reunite the two friends in a real way and let him talk about it. And I still like the fact that Tigh comes and asks for a drink, and Adama doesn't judge him about it. He just says, "Me too." And is gonna drink with him, knowing that this is Tigh's problem and accepting that it's Tigh's problem and it's something that the two of them are gonna do together while they sit and talk about the things that neither of them has spoken about.

	And that's "[[Hero]]". That's episode seven. I think it's an interesting episode. I think it's a little more conventional than many of the episodes that we typically do. I think that at the end of the day it's the kind of episode that is a solid single, for us. It accomplishes everything it sets out to accomplish. It's a standalone episode so new viewers are not lost in the giant backstory. And I think it provides an interesting bit of texture and background to Adama and [[Galactica (RDM)\|''Galactica'']]- Adama and Tigh. So thank you for listening, that's the end of the podcast, and I will talk to you again for "[[Unfinished Business]]", episode eight, which is one of my personal favorites of the season and of the series. So take care, good night, and good luck.		And that's "[[Hero]]". That's episode seven. I think it's an interesting episode. I think it's a little more conventional than many of the episodes that we typically do. I think that at the end of the day it's the kind of episode that is a solid single, for us. It accomplishes everything it sets out to accomplish. It's a standalone episode so new viewers are not lost in the giant backstory. And I think it provides an interesting bit of texture and background to Adama and [[Galactica (RDM)\|''Galactica'']]- Adama and Tigh. So thank you for listening, that's the end of the podcast, and I will talk to you again for "[[Unfinished Business]]", episode eight, which is one of my personal favorites of the season and of the series. So take care, good night, and good luck.
	<!-- 45:20 -->		<!-- 45:20 -->

PrePressChris: /* Act 4 */ + dropped word (~39:22)

2006-12-06T17:42:18Z

Act 4: + dropped word (~39:22)

← Older revision		Revision as of 17:42, 6 December 2006
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	So here at the top of act four the show dramatically is over. The rest of act four is essentially a wrap-up. That little insert of him submitting his resignation to [[Laura Roslin\|Laura]] was shot after the fact. That was a pickup line that we went back and got later. Because of the way we had reconstructed the acts this no longer had a proper run up to it. The resignation is now a new idea in this scene. It used to be something, like I said, was in the [[Lee Adama\|Lee]] scene and we didn't ha- there was no discussion of him resigning in the script as shot. So later, we had to go back and pickup that little moment, all the up to the point where [[William Adama\|Adama]] sits down was all a pickup scene shot later.		So here at the top of act four the show dramatically is over. The rest of act four is essentially a wrap-up. That little insert of him submitting his resignation to [[Laura Roslin\|Laura]] was shot after the fact. That was a pickup line that we went back and got later. Because of the way we had reconstructed the acts this no longer had a proper run up to it. The resignation is now a new idea in this scene. It used to be something, like I said, was in the [[Lee Adama\|Lee]] scene and we didn't ha- there was no discussion of him resigning in the script as shot. So later, we had to go back and pickup that little moment, all the up to the point where [[William Adama\|Adama]] sits down was all a pickup scene shot later.

	And here we have Laura essentially providing the rationale for why it's not Adama's fault. Why it's not Adama's- really wasn't his responsibility for the [[Fall of the Twelve Colonies\|events that occurred]]. And unfortunately this scene still has the line. We cut it earlier, but the scene here has Laura voicing the line about whether [[Colonial Fleet (RDM)\|the Admiralty]] wanted the war. I think we went back and forth in that editing. I think [[David Eick\|David]] ultimately wanted it and I let this one stay in after having cut the earlier one, and probably should have forced the issue and cut that one as well.		And here we have Laura essentially providing the rationale for why it's not Adama's fault. Why it's not Adama's- really wasn't his responsibility for the [[Fall of the Twelve Colonies\|events that occurred]]. And unfortunately this scene still has the line. We cut it earlier, but the scene here has Laura voicing the line about whether [[Colonial Fleet (RDM)\|the Admiralty]] wanted the war. I think we went back and forth in that editing. I think [[David Eick\|David]] ultimately wanted it in and I let this one stay in after having cut the earlier one, and probably should have forced the issue and cut that one as well.

	"Forty-five years of courageous service" as opposed to forty years. I think in the script and as shot we kept saying forty years for some reason and kept not going back and forgetting to fix it. And we had to- it wasn't until we were in editorial that we had to reali- that we realized that we never got around to actually fixing that [[Continuity errors (RDM)\|continuity problem]] and I had to loop in lines and reshoot the insert on the card and to make sur- to make it clear that it's forty-five years of service.		"Forty-five years of courageous service" as opposed to forty years. I think in the script and as shot we kept saying forty years for some reason and kept not going back and forgetting to fix it. And we had to- it wasn't until we were in editorial that we had to reali- that we realized that we never got around to actually fixing that [[Continuity errors (RDM)\|continuity problem]] and I had to loop in lines and reshoot the insert on the card and to make sur- to make it clear that it's forty-five years of service.

Mercifull: /* Act 2 */ Stealthstar

2006-12-06T12:14:38Z

Act 2: Stealthstar

← Older revision		Revision as of 12:14, 6 December 2006
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	Now this particular scene. This particular scene actually has more to it. We got into the editing room and I started to have second thoughts about some things we had done in the script and I argued very strongly with [[David Eick\|David]] about cutting the moment where Adama actually resigned his command. The end of the scene was Adama officially resigning his command and gave up command of [[the Fleet (RDM)\|the Fleet]] to Lee. Literally stepped aside. When I saw it I felt like it just wasn't ring- it just didn't ring true. I just called bullshit on it. It was like, given everything that he'd gone through and everything that had happened in show and the man had never quit. I believe that this had a huge impact on him. That this was a heavy burden that he'd been carrying for lo these many years, but I didn't believe that he actually would resign his command. So I pressed David pretty hard to not go there.		Now this particular scene. This particular scene actually has more to it. We got into the editing room and I started to have second thoughts about some things we had done in the script and I argued very strongly with [[David Eick\|David]] about cutting the moment where Adama actually resigned his command. The end of the scene was Adama officially resigning his command and gave up command of [[the Fleet (RDM)\|the Fleet]] to Lee. Literally stepped aside. When I saw it I felt like it just wasn't ring- it just didn't ring true. I just called bullshit on it. It was like, given everything that he'd gone through and everything that had happened in show and the man had never quit. I believe that this had a huge impact on him. That this was a heavy burden that he'd been carrying for lo these many years, but I didn't believe that he actually would resign his command. So I pressed David pretty hard to not go there.

	{{podcastref\|pegasusredress\|24:49}}All these little flashback sequences to the interior of the ''Valkyrie'' is essen- the interior of the ''Valkyrie'' is essentially a redress of the leftover pieces of [[Pegasus (RDM)\|''Pegasus'']]. This is- you can tell by the shape and some of the background pieces there that that's the ''Pegasus'' [[CIC]] that's simply lit in different way so that it feels a little different than ''Pegasus''. {{podcastref\|stealthredress\|25:14}}The [[~~Stealth Star~~\|stealth ship]] is a redress of the- of [[Blackbird\|our own stealth ship]] that we did in last years "[[Flight of the Phoenix]]".		{{podcastref\|pegasusredress\|24:49}}All these little flashback sequences to the interior of the ''Valkyrie'' is essen- the interior of the ''Valkyrie'' is essentially a redress of the leftover pieces of [[Pegasus (RDM)\|''Pegasus'']]. This is- you can tell by the shape and some of the background pieces there that that's the ''Pegasus'' [[CIC]] that's simply lit in different way so that it feels a little different than ''Pegasus''. {{podcastref\|stealthredress\|25:14}}The [[Stealthstar\|stealth ship]] is a redress of the- of [[Blackbird\|our own stealth ship]] that we did in last years "[[Flight of the Phoenix]]".

	The backstory itself. You can argue that there's certain things that we did in the backstory in the missio- the stealth mission that don't quite add up that I never f- we never quite licked. Part of it is just the physics of space- or the the size of space. As [[w:Rick Berman\|Rick Berman]] used to always tell us, "Space is big." And the idea that there's an actual line out there, the [[Armistice Line]] and that Bulldog was just on- a couple of klicks on the other side of the line and would get caught, I think we're pushing the boundaries a little bit. I don't think we're breaking them, but I think it's pushing believability. After all, space is so vast. One would imagine that the Armistice Line, if there is such a line in space would cover such an enormous amount of space, it's hard to believe that he gets only a couple of klicks on the other side before he's caught, and also that he could see anything from just a couple klicks on the other side. So that's a bit of a stretch. But that- but it worked best for this story to have him literally saying, "I'm over the line," and then have events happen rather than get into long technical explanations of where he is and where he's not.		The backstory itself. You can argue that there's certain things that we did in the backstory in the missio- the stealth mission that don't quite add up that I never f- we never quite licked. Part of it is just the physics of space- or the the size of space. As [[w:Rick Berman\|Rick Berman]] used to always tell us, "Space is big." And the idea that there's an actual line out there, the [[Armistice Line]] and that Bulldog was just on- a couple of klicks on the other side of the line and would get caught, I think we're pushing the boundaries a little bit. I don't think we're breaking them, but I think it's pushing believability. After all, space is so vast. One would imagine that the Armistice Line, if there is such a line in space would cover such an enormous amount of space, it's hard to believe that he gets only a couple of klicks on the other side before he's caught, and also that he could see anything from just a couple klicks on the other side. So that's a bit of a stretch. But that- but it worked best for this story to have him literally saying, "I'm over the line," and then have events happen rather than get into long technical explanations of where he is and where he's not.

← Older revision		Revision as of 20:01, 24 January 2007
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	There were various versions of [[Laura Roslin\|Laura]]'s involvement in the storyline. In early drafts, Laura started to smell a rat pretty early in the show. Probably at the same point, structurally, as she does now, when she's in the scene coming up with Laura- with [[William Adama\|Adama]] and [[Tory Foster\|Tory]] and [[Daniel Novacek\|Novacek]]. But afte- Oh there's a great visual effects still showing some of the damage from the [[New Caprica]] storyline. This little scene- anyway. Laura, in early drafts, started to smell a rat, realizes something was wrong. Adama wouldn't tell her. And so what she did was to enlist [[Lee Adama\|Lee]]. She got Lee to do some digging and try to find out what the secret was that Adama was trying to hide. And in those early drafts, what he had was, he had actual audio tapes of the encounter- of the mission. There were secret tapes that were somewhere in the- [[Galactica (RDM)\|''Galactica'']]'s audio archives that we were saying. There was an actual room with audio archives on analog tapes, in keeping with the fact that the ''Galactica'' computers are not nearly as powerful as our- as many modern day computers are, and they're not networked, etc. So there were actual tape banks down below some place that mission tapes were kept in, and there was a secret one that had the exchanges between Adama and Bulldog aboard the ''[[Valkyrie]]''. Now some of the- we started running into all kinds of problems with that particular storyline. I had trouble believing that the audio tapes of Adama aboard the Valkyrie- he had kept, versus destroying, and that he had kept them and transferred them to ''Galactica'' where they could be found. And Lee was going to find them and play them back and confront his father with the truth and his father was going to be very upset and angry. I think in one draft Adama even hauled off and smack- and hit Lee, for the first time, which was what's- gonna be a- an amazing moment but, didn't feel like we had really earned it legitimately, so we started backing off the idea of the tapes. There was something provocative about hearing the tapes. It was the scene at the beginning of [[w:Apocalypse Now\|''Apocalypse Now'']] where they're playing the tapes of Colonel Kurtz, or it was like the conversation. Here's a tape of something from the past and it gave Lee a real drive in the show to find out what was going on. I'll come back to that later.		There were various versions of [[Laura Roslin\|Laura]]'s involvement in the storyline. In early drafts, Laura started to smell a rat pretty early in the show. Probably at the same point, structurally, as she does now, when she's in the scene coming up with Laura- with [[William Adama\|Adama]] and [[Tory Foster\|Tory]] and [[Daniel Novacek\|Novacek]]. But afte- Oh there's a great visual effects still showing some of the damage from the [[New Caprica]] storyline. This little scene- anyway. Laura, in early drafts, started to smell a rat, realizes something was wrong. Adama wouldn't tell her. And so what she did was to enlist [[Lee Adama\|Lee]]. She got Lee to do some digging and try to find out what the secret was that Adama was trying to hide. And in those early drafts, what he had was, he had actual audio tapes of the encounter- of the mission. There were secret tapes that were somewhere in the- [[Galactica (RDM)\|''Galactica'']]'s audio archives that we were saying. There was an actual room with audio archives on analog tapes, in keeping with the fact that the ''Galactica'' computers are not nearly as powerful as our- as many modern day computers are, and they're not networked, etc. So there were actual tape banks down below some place that mission tapes were kept in, and there was a secret one that had the exchanges between Adama and Bulldog aboard the ''[[Valkyrie]]''. Now some of the- we started running into all kinds of problems with that particular storyline. I had trouble believing that the audio tapes of Adama aboard the Valkyrie- he had kept, versus destroying, and that he had kept them and transferred them to ''Galactica'' where they could be found. And Lee was going to find them and play them back and confront his father with the truth and his father was going to be very upset and angry. I think in one draft Adama even hauled off and smack- and hit Lee, for the first time, which was what's- gonna be a- an amazing moment but, didn't feel like we had really earned it legitimately, so we started backing off the idea of the tapes. There was something provocative about hearing the tapes. It was the scene at the beginning of [[w:Apocalypse Now\|''Apocalypse Now'']] where they're playing the tapes of Colonel Kurtz, or it was like the conversation. Here's a tape of something from the past and it gave Lee a real drive in the show to find out what was going on. I'll come back to that later.

	This scene, the flashback scene aboard the [[Basestar (RDM)\|Cylon baseship]]. Virtually all the dialogue here, interestingly enough, is improvised by [[Lucy Lawless]]. The scene was supposed to be really [[w:MOS (film)\|MOS]], silent, and it was really just her pacing around talking to him in the cage and you weren't gonna really s- hear anything. But on the day Lucy went into character and started improvving all this stuff, all this- I think she and the director worked out this thing with the rattling the bars of the cage, but all of her ~~dialog~~ is actually something that Lucy improvved. And it's great. And we weren't gonna even use it but it was so good that we decided to really use it in the show. And it's really another testament to the contribution of the cast and the actors. The cast are the actors, of course. Of the cast to the show. They really provide a great deal of texture and a great deal of import to their characters and to the scenes and, in this particular case, actually wrote the scene herself. So it's really a testament to Lucy's ability and her identification with the character and her understanding of the world and understanding of what this show is about that she was able to just improv all that off the top of her head.		This scene, the flashback scene aboard the [[Basestar (RDM)\|Cylon baseship]]. Virtually all the dialogue here, interestingly enough, is improvised by [[Lucy Lawless]]. The scene was supposed to be really [[w:MOS (film)\|MOS]], silent, and it was really just her pacing around talking to him in the cage and you weren't gonna really s- hear anything. But on the day Lucy went into character and started improvving all this stuff, all this- I think she and the director worked out this thing with the rattling the bars of the cage, but all of her dialogue is actually something that Lucy improvved. And it's great. And we weren't gonna even use it but it was so good that we decided to really use it in the show. And it's really another testament to the contribution of the cast and the actors. The cast are the actors, of course. Of the cast to the show. They really provide a great deal of texture and a great deal of import to their characters and to the scenes and, in this particular case, actually wrote the scene herself. So it's really a testament to Lucy's ability and her identification with the character and her understanding of the world and understanding of what this show is about that she was able to just improv all that off the top of her head.

	Like I said, the storyline with Laura was going to be Laura realizing that something was amiss. That Laura- there was something- there was a secret Adama was keeping from her and she was gonna get Lee to ferret it out. And when Lee ferreted out the information and found the tapes of his father and confronted him with them, that was when Adama actually resigned. Adama was gonna actually resign command of [[The Fleet (RDM)\|the Fleet]], turn command of the Fleet over to Lee. And it's only after they discover what- that Bulldog's mission- that he was intentionally let go by the [[Cylons (RDM)\|Cylons]] and ordered that he- in order for him to come to ''Galactica'' and disrupt everything and screw with the command and really cause chaos that they pulled back from- that Adama pulled back and was convinced to maintain his command of the Fleet. Like I said, the audio tapes were problematic and hard to believe. And then we just started, for time and space, we started realizing that didn't have really time to do this whole Lee investigative story and that the investigative story was not nearly as interesting as the personal story was. Which is often the case, I find in this show, that ofttimes we concoct these intricate plots and a lot of moving parts to get you to the fourth act and then as you're working through the scripts, as you're working through the drafts, you discover that, or I discover, that the thing that is really interesting to me are all the character moments and how it impacts on the people and I end up cutting plot and simplifying plot to focus on the characters. Which is generally the opposite of how TV is done. I mean, there's an old axiom in television that when you're long the first thing you cut is comedy, the second thing you cut is character, and then, only then, do you start cutting into plot. I often go the opposite. I prefer to hang onto character at all costs and humor is something that we're usually have very, very little of so typically we want to hang onto the little tiny comedic moments whenever and wherever they are. And so I'm loathe to c- but I'm loathe to cut character, ever, so ofttimes I will sacrifice plot for character because, in just my personal view, character is what it's all about and it's all about these people and that's why you're tuning in, week after week, is to see what happens to these people and that the plot mechanics are never quite as interesting as the character dynamics and watching what happens to them.		Like I said, the storyline with Laura was going to be Laura realizing that something was amiss. That Laura- there was something- there was a secret Adama was keeping from her and she was gonna get Lee to ferret it out. And when Lee ferreted out the information and found the tapes of his father and confronted him with them, that was when Adama actually resigned. Adama was gonna actually resign command of [[The Fleet (RDM)\|the Fleet]], turn command of the Fleet over to Lee. And it's only after they discover what- that Bulldog's mission- that he was intentionally let go by the [[Cylons (RDM)\|Cylons]] and ordered that he- in order for him to come to ''Galactica'' and disrupt everything and screw with the command and really cause chaos that they pulled back from- that Adama pulled back and was convinced to maintain his command of the Fleet. Like I said, the audio tapes were problematic and hard to believe. And then we just started, for time and space, we started realizing that didn't have really time to do this whole Lee investigative story and that the investigative story was not nearly as interesting as the personal story was. Which is often the case, I find in this show, that ofttimes we concoct these intricate plots and a lot of moving parts to get you to the fourth act and then as you're working through the scripts, as you're working through the drafts, you discover that, or I discover, that the thing that is really interesting to me are all the character moments and how it impacts on the people and I end up cutting plot and simplifying plot to focus on the characters. Which is generally the opposite of how TV is done. I mean, there's an old axiom in television that when you're long the first thing you cut is comedy, the second thing you cut is character, and then, only then, do you start cutting into plot. I often go the opposite. I prefer to hang onto character at all costs and humor is something that we're usually have very, very little of so typically we want to hang onto the little tiny comedic moments whenever and wherever they are. And so I'm loathe to c- but I'm loathe to cut character, ever, so ofttimes I will sacrifice plot for character because, in just my personal view, character is what it's all about and it's all about these people and that's why you're tuning in, week after week, is to see what happens to these people and that the plot mechanics are never quite as interesting as the character dynamics and watching what happens to them.

← Older revision		Revision as of 17:42, 6 December 2006
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	So here at the top of act four the show dramatically is over. The rest of act four is essentially a wrap-up. That little insert of him submitting his resignation to [[Laura Roslin\|Laura]] was shot after the fact. That was a pickup line that we went back and got later. Because of the way we had reconstructed the acts this no longer had a proper run up to it. The resignation is now a new idea in this scene. It used to be something, like I said, was in the [[Lee Adama\|Lee]] scene and we didn't ha- there was no discussion of him resigning in the script as shot. So later, we had to go back and pickup that little moment, all the up to the point where [[William Adama\|Adama]] sits down was all a pickup scene shot later.		So here at the top of act four the show dramatically is over. The rest of act four is essentially a wrap-up. That little insert of him submitting his resignation to [[Laura Roslin\|Laura]] was shot after the fact. That was a pickup line that we went back and got later. Because of the way we had reconstructed the acts this no longer had a proper run up to it. The resignation is now a new idea in this scene. It used to be something, like I said, was in the [[Lee Adama\|Lee]] scene and we didn't ha- there was no discussion of him resigning in the script as shot. So later, we had to go back and pickup that little moment, all the up to the point where [[William Adama\|Adama]] sits down was all a pickup scene shot later.

	And here we have Laura essentially providing the rationale for why it's not Adama's fault. Why it's not Adama's- really wasn't his responsibility for the [[Fall of the Twelve Colonies\|events that occurred]]. And unfortunately this scene still has the line. We cut it earlier, but the scene here has Laura voicing the line about whether [[Colonial Fleet (RDM)\|the Admiralty]] wanted the war. I think we went back and forth in that editing. I think [[David Eick\|David]] ultimately wanted it and I let this one stay in after having cut the earlier one, and probably should have forced the issue and cut that one as well.		And here we have Laura essentially providing the rationale for why it's not Adama's fault. Why it's not Adama's- really wasn't his responsibility for the [[Fall of the Twelve Colonies\|events that occurred]]. And unfortunately this scene still has the line. We cut it earlier, but the scene here has Laura voicing the line about whether [[Colonial Fleet (RDM)\|the Admiralty]] wanted the war. I think we went back and forth in that editing. I think [[David Eick\|David]] ultimately wanted it in and I let this one stay in after having cut the earlier one, and probably should have forced the issue and cut that one as well.

	"Forty-five years of courageous service" as opposed to forty years. I think in the script and as shot we kept saying forty years for some reason and kept not going back and forgetting to fix it. And we had to- it wasn't until we were in editorial that we had to reali- that we realized that we never got around to actually fixing that [[Continuity errors (RDM)\|continuity problem]] and I had to loop in lines and reshoot the insert on the card and to make sur- to make it clear that it's forty-five years of service.		"Forty-five years of courageous service" as opposed to forty years. I think in the script and as shot we kept saying forty years for some reason and kept not going back and forgetting to fix it. And we had to- it wasn't until we were in editorial that we had to reali- that we realized that we never got around to actually fixing that [[Continuity errors (RDM)\|continuity problem]] and I had to loop in lines and reshoot the insert on the card and to make sur- to make it clear that it's forty-five years of service.

← Older revision		Revision as of 12:14, 6 December 2006
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	Now this particular scene. This particular scene actually has more to it. We got into the editing room and I started to have second thoughts about some things we had done in the script and I argued very strongly with [[David Eick\|David]] about cutting the moment where Adama actually resigned his command. The end of the scene was Adama officially resigning his command and gave up command of [[the Fleet (RDM)\|the Fleet]] to Lee. Literally stepped aside. When I saw it I felt like it just wasn't ring- it just didn't ring true. I just called bullshit on it. It was like, given everything that he'd gone through and everything that had happened in show and the man had never quit. I believe that this had a huge impact on him. That this was a heavy burden that he'd been carrying for lo these many years, but I didn't believe that he actually would resign his command. So I pressed David pretty hard to not go there.		Now this particular scene. This particular scene actually has more to it. We got into the editing room and I started to have second thoughts about some things we had done in the script and I argued very strongly with [[David Eick\|David]] about cutting the moment where Adama actually resigned his command. The end of the scene was Adama officially resigning his command and gave up command of [[the Fleet (RDM)\|the Fleet]] to Lee. Literally stepped aside. When I saw it I felt like it just wasn't ring- it just didn't ring true. I just called bullshit on it. It was like, given everything that he'd gone through and everything that had happened in show and the man had never quit. I believe that this had a huge impact on him. That this was a heavy burden that he'd been carrying for lo these many years, but I didn't believe that he actually would resign his command. So I pressed David pretty hard to not go there.

	{{podcastref\|pegasusredress\|24:49}}All these little flashback sequences to the interior of the ''Valkyrie'' is essen- the interior of the ''Valkyrie'' is essentially a redress of the leftover pieces of [[Pegasus (RDM)\|''Pegasus'']]. This is- you can tell by the shape and some of the background pieces there that that's the ''Pegasus'' [[CIC]] that's simply lit in different way so that it feels a little different than ''Pegasus''. {{podcastref\|stealthredress\|25:14}}The [[~~Stealth Star~~\|stealth ship]] is a redress of the- of [[Blackbird\|our own stealth ship]] that we did in last years "[[Flight of the Phoenix]]".		{{podcastref\|pegasusredress\|24:49}}All these little flashback sequences to the interior of the ''Valkyrie'' is essen- the interior of the ''Valkyrie'' is essentially a redress of the leftover pieces of [[Pegasus (RDM)\|''Pegasus'']]. This is- you can tell by the shape and some of the background pieces there that that's the ''Pegasus'' [[CIC]] that's simply lit in different way so that it feels a little different than ''Pegasus''. {{podcastref\|stealthredress\|25:14}}The [[Stealthstar\|stealth ship]] is a redress of the- of [[Blackbird\|our own stealth ship]] that we did in last years "[[Flight of the Phoenix]]".

	The backstory itself. You can argue that there's certain things that we did in the backstory in the missio- the stealth mission that don't quite add up that I never f- we never quite licked. Part of it is just the physics of space- or the the size of space. As [[w:Rick Berman\|Rick Berman]] used to always tell us, "Space is big." And the idea that there's an actual line out there, the [[Armistice Line]] and that Bulldog was just on- a couple of klicks on the other side of the line and would get caught, I think we're pushing the boundaries a little bit. I don't think we're breaking them, but I think it's pushing believability. After all, space is so vast. One would imagine that the Armistice Line, if there is such a line in space would cover such an enormous amount of space, it's hard to believe that he gets only a couple of klicks on the other side before he's caught, and also that he could see anything from just a couple klicks on the other side. So that's a bit of a stretch. But that- but it worked best for this story to have him literally saying, "I'm over the line," and then have events happen rather than get into long technical explanations of where he is and where he's not.		The backstory itself. You can argue that there's certain things that we did in the backstory in the missio- the stealth mission that don't quite add up that I never f- we never quite licked. Part of it is just the physics of space- or the the size of space. As [[w:Rick Berman\|Rick Berman]] used to always tell us, "Space is big." And the idea that there's an actual line out there, the [[Armistice Line]] and that Bulldog was just on- a couple of klicks on the other side of the line and would get caught, I think we're pushing the boundaries a little bit. I don't think we're breaking them, but I think it's pushing believability. After all, space is so vast. One would imagine that the Armistice Line, if there is such a line in space would cover such an enormous amount of space, it's hard to believe that he gets only a couple of klicks on the other side before he's caught, and also that he could see anything from just a couple klicks on the other side. So that's a bit of a stretch. But that- but it worked best for this story to have him literally saying, "I'm over the line," and then have events happen rather than get into long technical explanations of where he is and where he's not.