Podcast:Kobol's Last Gleaming, Part II - Revision history

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

2025-06-15T21:30:39Z

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

Catrope: {{podcast data}}

2008-02-27T19:24:20Z

← Older revision		Revision as of 19:24, 27 February 2008
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	{{podcast\|~~author~~=Gougef\|~~emailAuthor2~~= ~~and~~ [[~~Special~~:~~Emailuser/~~Steelviper\|Steelviper]]\|~~suffix~~=s\|~~additionalCopyright~~=\|~~season~~=1\|~~episode~~=5}}		{{Podcast Data
			\|special=
			\|season=1
			\|episode=13
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by=[[User:Gougef\|FrankieG]]<br/>[[User:Steelviper\|Steelviper]]
			\|verified by= [[User:Steelviper\|Steelviper]] (partially)
			\|length=
			\|finished= Y
			\|verified=
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}

	== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] ==		== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] ==

Catrope: God --> God (RDM), forgot one

2007-06-21T14:43:25Z

God --> God (RDM), forgot one

← Older revision		Revision as of 14:43, 21 June 2007
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	== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==		== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==

	Just to continue that thought about [[Kobol (RDM)\|Kobol]] and it was [[Dirk Benedict]], and he said, "Hi. I'm [[God]]." And they shake hands and that was- we were gonna cut, and that was gonna be the end of that whole storyline and at the episode. I liked it. I thought it was wacky. I didn't quite know what it meant. I thought- I was looking for a surprise. Something interesting that fed into the mythos of the show and also to the audience and something that would really be unexpected and different and, frankly I didn't know what the hell I meant. I didn't know, was he lying? Is it true? It threw a lot of puzzle pieces up in the air in an unexpected way which, to me, was a reason to try to do it and see if it worked. And by and large the reaction ran the gamut from, "Huh?" to "That's really wild and cool!" And ultimately in a discussion with the network, I think it was [[IMDB:nm2303904\|Mark Stern]], who's our production executive at the network, just said, "You know what? You don't need this. You really don't need to go this far. It seems like you're pushing- it's pushing too far. It's winking at the audience for the first time and you haven't done that." And I said, "You know what? You're right." He was right. It was a misstep. But you have to be willing to take chances on the page because that's where you'd wanna take your chances. You wanna like risk things and do the unexpected moment on the page and see if it works, and in this case it was an idea that didn't work. So I just dumped it. Then it became a question about, "Ok. What do you see on the- in the interior of the [[temple]]?" We were still talking about a temple. And that went through a few iterations, which I'll come back to in a minute.		Just to continue that thought about [[Kobol (RDM)\|Kobol]] and it was [[Dirk Benedict]], and he said, "Hi. I'm [[God (RDM)\|God]]." And they shake hands and that was- we were gonna cut, and that was gonna be the end of that whole storyline and at the episode. I liked it. I thought it was wacky. I didn't quite know what it meant. I thought- I was looking for a surprise. Something interesting that fed into the mythos of the show and also to the audience and something that would really be unexpected and different and, frankly I didn't know what the hell I meant. I didn't know, was he lying? Is it true? It threw a lot of puzzle pieces up in the air in an unexpected way which, to me, was a reason to try to do it and see if it worked. And by and large the reaction ran the gamut from, "Huh?" to "That's really wild and cool!" And ultimately in a discussion with the network, I think it was [[IMDB:nm2303904\|Mark Stern]], who's our production executive at the network, just said, "You know what? You don't need this. You really don't need to go this far. It seems like you're pushing- it's pushing too far. It's winking at the audience for the first time and you haven't done that." And I said, "You know what? You're right." He was right. It was a misstep. But you have to be willing to take chances on the page because that's where you'd wanna take your chances. You wanna like risk things and do the unexpected moment on the page and see if it works, and in this case it was an idea that didn't work. So I just dumped it. Then it became a question about, "Ok. What do you see on the- in the interior of the [[temple]]?" We were still talking about a temple. And that went through a few iterations, which I'll come back to in a minute.

	This is now the [[Delphi Museum of the Colonies\|museum]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. [[Kara Thrace\|Kara]] going after the [[Arrow of Apollo\|arrow]]. There was always gonna be an "Arrow of Apollo".		This is now the [[Delphi Museum of the Colonies\|museum]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. [[Kara Thrace\|Kara]] going after the [[Arrow of Apollo\|arrow]]. There was always gonna be an "Arrow of Apollo".

Catrope: God --> God (RDM); the tune mentioned is very likely Watchtower :D

2007-06-21T14:40:56Z

God --> God (RDM); the tune mentioned is very likely Watchtower :D

← Older revision		Revision as of 14:40, 21 June 2007
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	So again, here we are. We're going to the Cylon baseship for the first time. [[Margaret Edmondson\|Racetrack]], in the background, is somebody that we will also be using on next season. We're very happy with the actress. Very happy with the character. This was like- that. That little bit of going into the Cylon basestar and subsequent shots of it, [[Gary Hutzel]] and the visual effects team were very excited about. It was bought out of long discussions with them about what it was gonna be, and it was really an opportunity to do a lot of really cool visual effects stuff.		So again, here we are. We're going to the Cylon baseship for the first time. [[Margaret Edmondson\|Racetrack]], in the background, is somebody that we will also be using on next season. We're very happy with the actress. Very happy with the character. This was like- that. That little bit of going into the Cylon basestar and subsequent shots of it, [[Gary Hutzel]] and the visual effects team were very excited about. It was bought out of long discussions with them about what it was gonna be, and it was really an opportunity to do a lot of really cool visual effects stuff.

	Here on Kobol, as I said earlier, there was originally the two [[temple]]s. There was the temple on Kobol and the temple on Caprica. And the temple on Kobol storyline always had [[Gaius Baltar\|Baltar]] going into the temple and discovering something huge and amazing and ending the season on a revelation. In the first draft of "[[Kobol's Last Gleaming]]", he went into the temple and [[Number Six\|Six]] took him towards some subterranean passage, and it was very dark, and she said, "This is as far as I go." And he says, "What?" And she makes him go further and he's just finds himself walking in a void, a black void, and doesn't know where it's leading. And at the end of that he comes into a room and he hears music and it's a recognizable [[Earth (RDM)\|Earth]]-tune, to the audience and to him. It was [[w:Jimi Hendrix\|Jimi Hendrix]] was playing, actually, and he goes, "God, I recognize that." And then somebody- or somebody s- a voice says, "You recognize that?" And he says, "Yes." And he turns and it's [[Dirk Benedict]]. (Laughs.) And Dirk Benedict said, "Hi. I'm [[God]]." And you just cut. We just cut out on that.		Here on Kobol, as I said earlier, there was originally the two [[temple]]s. There was the temple on Kobol and the temple on Caprica. And the temple on Kobol storyline always had [[Gaius Baltar\|Baltar]] going into the temple and discovering something huge and amazing and ending the season on a revelation. In the first draft of "[[Kobol's Last Gleaming]]", he went into the temple and [[Number Six\|Six]] took him towards some subterranean passage, and it was very dark, and she said, "This is as far as I go." And he says, "What?" And she makes him go further and he's just finds himself walking in a void, a black void, and doesn't know where it's leading. And at the end of that he comes into a room and he hears music and it's a recognizable [[Earth (RDM)\|Earth]]-tune, to the audience and to him. It was [[w:Jimi Hendrix\|Jimi Hendrix]] was playing, actually, and he goes, "God, I recognize that." And then somebody- or somebody s- a voice says, "You recognize that?" And he says, "Yes." And he turns and it's [[Dirk Benedict]]. (Laughs.) And Dirk Benedict said, "Hi. I'm [[God (RDM)\|God]]." And you just cut. We just cut out on that.

	== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==		== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==

Catrope: Earth --> Earth (RDM)

2007-05-01T13:44:35Z

Earth --> Earth (RDM)

← Older revision		Revision as of 13:44, 1 May 2007
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	So again, here we are. We're going to the Cylon baseship for the first time. [[Margaret Edmondson\|Racetrack]], in the background, is somebody that we will also be using on next season. We're very happy with the actress. Very happy with the character. This was like- that. That little bit of going into the Cylon basestar and subsequent shots of it, [[Gary Hutzel]] and the visual effects team were very excited about. It was bought out of long discussions with them about what it was gonna be, and it was really an opportunity to do a lot of really cool visual effects stuff.		So again, here we are. We're going to the Cylon baseship for the first time. [[Margaret Edmondson\|Racetrack]], in the background, is somebody that we will also be using on next season. We're very happy with the actress. Very happy with the character. This was like- that. That little bit of going into the Cylon basestar and subsequent shots of it, [[Gary Hutzel]] and the visual effects team were very excited about. It was bought out of long discussions with them about what it was gonna be, and it was really an opportunity to do a lot of really cool visual effects stuff.

	Here on Kobol, as I said earlier, there was originally the two [[temple]]s. There was the temple on Kobol and the temple on Caprica. And the temple on Kobol storyline always had [[Gaius Baltar\|Baltar]] going into the temple and discovering something huge and amazing and ending the season on a revelation. In the first draft of "[[Kobol's Last Gleaming]]", he went into the temple and [[Number Six\|Six]] took him towards some subterranean passage, and it was very dark, and she said, "This is as far as I go." And he says, "What?" And she makes him go further and he's just finds himself walking in a void, a black void, and doesn't know where it's leading. And at the end of that he comes into a room and he hears music and it's a recognizable [[Earth]]-tune, to the audience and to him. It was [[w:Jimi Hendrix\|Jimi Hendrix]] was playing, actually, and he goes, "God, I recognize that." And then somebody- or somebody s- a voice says, "You recognize that?" And he says, "Yes." And he turns and it's [[Dirk Benedict]]. (Laughs.) And Dirk Benedict said, "Hi. I'm [[God]]." And you just cut. We just cut out on that.		Here on Kobol, as I said earlier, there was originally the two [[temple]]s. There was the temple on Kobol and the temple on Caprica. And the temple on Kobol storyline always had [[Gaius Baltar\|Baltar]] going into the temple and discovering something huge and amazing and ending the season on a revelation. In the first draft of "[[Kobol's Last Gleaming]]", he went into the temple and [[Number Six\|Six]] took him towards some subterranean passage, and it was very dark, and she said, "This is as far as I go." And he says, "What?" And she makes him go further and he's just finds himself walking in a void, a black void, and doesn't know where it's leading. And at the end of that he comes into a room and he hears music and it's a recognizable [[Earth (RDM)\|Earth]]-tune, to the audience and to him. It was [[w:Jimi Hendrix\|Jimi Hendrix]] was playing, actually, and he goes, "God, I recognize that." And then somebody- or somebody s- a voice says, "You recognize that?" And he says, "Yes." And he turns and it's [[Dirk Benedict]]. (Laughs.) And Dirk Benedict said, "Hi. I'm [[God]]." And you just cut. We just cut out on that.

	== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==		== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] ==

Mercifull: adding podcast list

2007-04-19T11:19:57Z

adding podcast list

← Older revision		Revision as of 11:19, 19 April 2007
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	So, this would be the final podcast of the first season. Thank you all for listening. And I hope if we get a chance to do more of these podcasts, perhaps as we go into production, I might leave you a few more of these along the way. And otherwise I will be sure to be talking to you again this summer when season two of ''Battlestar Galactica'' begins. And it will begin moments after all of this ends. So thank you, and goodnight.		So, this would be the final podcast of the first season. Thank you all for listening. And I hope if we get a chance to do more of these podcasts, perhaps as we go into production, I might leave you a few more of these along the way. And otherwise I will be sure to be talking to you again this summer when season two of ''Battlestar Galactica'' begins. And it will begin moments after all of this ends. So thank you, and goodnight.

			{{Podcast list (RDM season 1)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T20:00:44Z

Kobol -> Kobol (RDM)

Show changes

Steelviper: + season, episode variables

2007-02-27T21:16:03Z

+ season, episode variables

← Older revision		Revision as of 21:16, 27 February 2007
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	{{podcast\|author=Gougef\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=s\|additionalCopyright=}}		{{podcast\|author=Gougef\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=s\|additionalCopyright=\|season=1\|episode=5}}

	== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] ==		== [http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] ==

Steelviper: fix colonial one link

2006-11-21T16:58:49Z

fix colonial one link

← Older revision		Revision as of 16:58, 21 November 2006
Line 16:		Line 16:
	There was really- there was really no way to get the [[temple]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] and the temple on [[Kobol]] to work. They were too expensive. We could not believably make te- create temples practically on the stage, and then we were gonna CGI, do digital extensions of both sets to make it- to sell it in both locations, and it just became cost prohibitive. And likewise the surrounding of the temple and the big firefight that we were gonna do with a lot of [[Cylon Centurion\|Centurions]] and hovercraft and [[Cylon Raider (RDM)\|Raiders]] and all that. Laying siege, or about to lay siege, to the the temple on Kobol was another element that we just could not afford. So compromises have to be made and you're forced to think in other directions. And so this notion of the [[Arrow of Apollo\|arrow]] being not in a temple on Caprica but actually being in [[Delphi Museum of the Colonies\|a museum]], also seemed a little bit more real, more believable. It felt more real for society that is- has a [[Religion in the Twelve Colonies\|religious]] aspect to it. A lot of people are- take their religious seriously and are practicing a faith but there's a large secular community that probably either doesn't believe or believes in a very low-boil way. That by and large a lot of "religious" items and artifacts would have worked their way and found their way into museums. So that became a much easier justification for the museum on Caprica.		There was really- there was really no way to get the [[temple]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] and the temple on [[Kobol]] to work. They were too expensive. We could not believably make te- create temples practically on the stage, and then we were gonna CGI, do digital extensions of both sets to make it- to sell it in both locations, and it just became cost prohibitive. And likewise the surrounding of the temple and the big firefight that we were gonna do with a lot of [[Cylon Centurion\|Centurions]] and hovercraft and [[Cylon Raider (RDM)\|Raiders]] and all that. Laying siege, or about to lay siege, to the the temple on Kobol was another element that we just could not afford. So compromises have to be made and you're forced to think in other directions. And so this notion of the [[Arrow of Apollo\|arrow]] being not in a temple on Caprica but actually being in [[Delphi Museum of the Colonies\|a museum]], also seemed a little bit more real, more believable. It felt more real for society that is- has a [[Religion in the Twelve Colonies\|religious]] aspect to it. A lot of people are- take their religious seriously and are practicing a faith but there's a large secular community that probably either doesn't believe or believes in a very low-boil way. That by and large a lot of "religious" items and artifacts would have worked their way and found their way into museums. So that became a much easier justification for the museum on Caprica.

	And as far as the story on Kobol, that went through several iterations, and many changes. From going from two ground survey teams to just consolidating it into one, and also the decision not to put [[Lee Adama\|Lee]] down there. Where was Lee's role in this drama was something that took a lot of wrangling. If Lee is down on the planet surface, it required a different kind of story down there. He's in charge. It's his command. It's his mission. It's all about Lee. And- we were talking about some conflict between him [[Galen Tyrol\|Tyrol]], him and crew chief, and Tyrol questioning him in some ways, and Lee's leadership and growth. And ultimately it wasn't quite as satisfying that he wasn't back aboard [[Galactica (RDM)\|''Galactica'']] when his father is shot and when the [[Government_of_the_Twelve_Colonies#Executive_Branch_2\|President]] is deposed from power. It seemed like he should be back here and dealing with this story and by making that key change it allowed the Caprica s- the, sorry, the Kobol story to take on a different complexion. And as we, as you'll see, [[Alex Quartararo\|Crashdown]] is in charge down on the surface of Kobol, but he may not be the best man, the best leader, for that situation. And doubt starts to creep in about who they're- who's command they're under. And what will Tyrol do? You couldn't play that, really, if it was Lee, 'cause it's- he's just a more capable, more competent leader and he's expected to fill that role every week. But by making it Crashdown it becomes a legitimate like, "Ok. Wait a minute. Who's in charge here?" kind of a thing. And it also meant that if Lee is aboard ''Colonial'' or- if he's aboard ''Galactica'' and [[''Colonial One'']] in this- on this storyline, when they try to take down the President, it forces him to have to make a choice and it meant that he could have to pick [[Laura Roslin\|Laura]] over his father, and that he would go down for that, and he would be in [[brig\|jail]], and that he would be there in the room in han-, literally, in handcuffs, when the final moments of the episode went down, which I though was much stronger. And moving forward, it meant that Lee is with us aboard ''Galactica'' in this world at the beginning of [[Season 2 (2005-06)\|season two]], as opposed to being somewhere else that he has to be rescued and on a completely different story and having no idea what's even happening to his father, which didn't seem as satisfying.		And as far as the story on Kobol, that went through several iterations, and many changes. From going from two ground survey teams to just consolidating it into one, and also the decision not to put [[Lee Adama\|Lee]] down there. Where was Lee's role in this drama was something that took a lot of wrangling. If Lee is down on the planet surface, it required a different kind of story down there. He's in charge. It's his command. It's his mission. It's all about Lee. And- we were talking about some conflict between him [[Galen Tyrol\|Tyrol]], him and crew chief, and Tyrol questioning him in some ways, and Lee's leadership and growth. And ultimately it wasn't quite as satisfying that he wasn't back aboard [[Galactica (RDM)\|''Galactica'']] when his father is shot and when the [[Government_of_the_Twelve_Colonies#Executive_Branch_2\|President]] is deposed from power. It seemed like he should be back here and dealing with this story and by making that key change it allowed the Caprica s- the, sorry, the Kobol story to take on a different complexion. And as we, as you'll see, [[Alex Quartararo\|Crashdown]] is in charge down on the surface of Kobol, but he may not be the best man, the best leader, for that situation. And doubt starts to creep in about who they're- who's command they're under. And what will Tyrol do? You couldn't play that, really, if it was Lee, 'cause it's- he's just a more capable, more competent leader and he's expected to fill that role every week. But by making it Crashdown it becomes a legitimate like, "Ok. Wait a minute. Who's in charge here?" kind of a thing. And it also meant that if Lee is aboard ''Colonial'' or- if he's aboard ''Galactica'' and ''[[Colonial One]]'' in this- on this storyline, when they try to take down the President, it forces him to have to make a choice and it meant that he could have to pick [[Laura Roslin\|Laura]] over his father, and that he would go down for that, and he would be in [[brig\|jail]], and that he would be there in the room in han-, literally, in handcuffs, when the final moments of the episode went down, which I though was much stronger. And moving forward, it meant that Lee is with us aboard ''Galactica'' in this world at the beginning of [[Season 2 (2005-06)\|season two]], as opposed to being somewhere else that he has to be rescued and on a completely different story and having no idea what's even happening to his father, which didn't seem as satisfying.

	This storyline of ''Galactica'' starting to move toward deposing the President and staging a military coups is something that had been on the drawing board from the beginning. My initial story proposals for the [[Season 1 (2004-05)\|first season]] as contained in the [[Series bible\|bible]] and some other documents I wrote for the network, I always saw, initially, that the arc of the two characters of Laura and [[William Adama\|Adama]] was going to be, ok you think at first that she's dove and he's the hawk, but in truth she's capable of far tougher things than he is capable of and he's much more civil libertarian-minded, for lack of a better phrase, than she is. That the each of them has elements of both hawk and dove and that they're driven by character things not- they're not just archetypes that you push around. He's not always gonna do the military thing. She's not always gonna do the soft and touchy-feely thing. And that the arc for the season initially was that Laura was gonna go too far. Laura was gonna get caught up in the need to maintain security in a sit- in a Flee- in a situations such as this and that would force her to crackdown harder and harder on dissent and she would winnow away basic freedoms one by one. Adama was gonna be essentially the one tasked to carry out those orders. He was gonna become more, and more, and more uncomfortable with it as the season went on. And ultimately she would go too far and he would step in and he would institute a coups and by the end of season on she was gonna be in jail. He would have taken over as the military commander and declared [[w:martial law\|martial law]]. Which is exactly what neither of them wanted at the beginning. That's still where we end up. I mean, the journey along the way changed. Laura didn't really crackdown so much as she did was show teeth, show an ability to be pragmatic, show a willingness to cut- to stab [[Wallace Gray\|her friend]] in the back, to shove a [[Leoben Conoy\|Cylon]] out an airlock. You started to realize that she's capable of taking strong measures. But we didn't have to paint her quite so starkly as I was thinking initially, as being a badass and really going after people. It also didn't fit with [[Mary McDonnell\|Mary]]'s portrayal of Laura. So what did happen is you started to see that she's perfectly capable of doing what she thinks need to be done if she thinks she's right. She's gonna do it. And the more funda- the fundamental agreement of the civilian and the military leadership in [[The Fleet (RDM)\|the Fleet]] wa- seemed like the right place to play the conflict. That essentially if she breaks the vow she made in the [[miniseries]], the vow to let him have control over military decisions, that that would be the point where he would step in. He- you don't break your word to Adama. You just don't. And she did. And his a- his reaction to that is resolute and with a bit of sadness. I don't think he- he definitely doesn't want it. He doesn't want the command of the Fleet. He doesn't want to have to deal with the civilians. He doesn't want to do any of these things. But she broke her word to him. She got- she got [[Kara Thrace]], of all people, to turn against him and take a military asset away from the ''Galactica'' at the very moment that they were working on a plan to attack a Cylo- I mean. The reas- there's just so many reasons. He had to do it. He has to act against her. And she knows full well that he's gonna do that. That is also part of the story is that when she made that decision she- it was in- with her eyes wide open. She knew what it was going to mean. That he was coming for her. Which is the reason why she had the [[Colonial Press\|Press]] on board, was she wanted it to be public. She didn't- she wanted people to know what was really at stake.		This storyline of ''Galactica'' starting to move toward deposing the President and staging a military coups is something that had been on the drawing board from the beginning. My initial story proposals for the [[Season 1 (2004-05)\|first season]] as contained in the [[Series bible\|bible]] and some other documents I wrote for the network, I always saw, initially, that the arc of the two characters of Laura and [[William Adama\|Adama]] was going to be, ok you think at first that she's dove and he's the hawk, but in truth she's capable of far tougher things than he is capable of and he's much more civil libertarian-minded, for lack of a better phrase, than she is. That the each of them has elements of both hawk and dove and that they're driven by character things not- they're not just archetypes that you push around. He's not always gonna do the military thing. She's not always gonna do the soft and touchy-feely thing. And that the arc for the season initially was that Laura was gonna go too far. Laura was gonna get caught up in the need to maintain security in a sit- in a Flee- in a situations such as this and that would force her to crackdown harder and harder on dissent and she would winnow away basic freedoms one by one. Adama was gonna be essentially the one tasked to carry out those orders. He was gonna become more, and more, and more uncomfortable with it as the season went on. And ultimately she would go too far and he would step in and he would institute a coups and by the end of season on she was gonna be in jail. He would have taken over as the military commander and declared [[w:martial law\|martial law]]. Which is exactly what neither of them wanted at the beginning. That's still where we end up. I mean, the journey along the way changed. Laura didn't really crackdown so much as she did was show teeth, show an ability to be pragmatic, show a willingness to cut- to stab [[Wallace Gray\|her friend]] in the back, to shove a [[Leoben Conoy\|Cylon]] out an airlock. You started to realize that she's capable of taking strong measures. But we didn't have to paint her quite so starkly as I was thinking initially, as being a badass and really going after people. It also didn't fit with [[Mary McDonnell\|Mary]]'s portrayal of Laura. So what did happen is you started to see that she's perfectly capable of doing what she thinks need to be done if she thinks she's right. She's gonna do it. And the more funda- the fundamental agreement of the civilian and the military leadership in [[The Fleet (RDM)\|the Fleet]] wa- seemed like the right place to play the conflict. That essentially if she breaks the vow she made in the [[miniseries]], the vow to let him have control over military decisions, that that would be the point where he would step in. He- you don't break your word to Adama. You just don't. And she did. And his a- his reaction to that is resolute and with a bit of sadness. I don't think he- he definitely doesn't want it. He doesn't want the command of the Fleet. He doesn't want to have to deal with the civilians. He doesn't want to do any of these things. But she broke her word to him. She got- she got [[Kara Thrace]], of all people, to turn against him and take a military asset away from the ''Galactica'' at the very moment that they were working on a plan to attack a Cylo- I mean. The reas- there's just so many reasons. He had to do it. He has to act against her. And she knows full well that he's gonna do that. That is also part of the story is that when she made that decision she- it was in- with her eyes wide open. She knew what it was going to mean. That he was coming for her. Which is the reason why she had the [[Colonial Press\|Press]] on board, was she wanted it to be public. She didn't- she wanted people to know what was really at stake.

Steelviper: + podcast cite, maybe links

2006-11-20T21:58:37Z

+ podcast cite, maybe links

← Older revision		Revision as of 21:58, 20 November 2006
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	This was, I think, [[David Eick]]- This was David Eick's idea, way back when. When he- midseason we first started talking about the finale, he was very excited about the idea of seeing Starbuck and Six really go at it. Really do a fight between the two of them. No holds barred. And that stayed through all the drafts. That Six and Starbuck were gonna fight at some point.		This was, I think, [[David Eick]]- This was David Eick's idea, way back when. When he- midseason we first started talking about the finale, he was very excited about the idea of seeing Starbuck and Six really go at it. Really do a fight between the two of them. No holds barred. And that stayed through all the drafts. That Six and Starbuck were gonna fight at some point.

	Here, again, you're seeing the interior of the [[Basestar (RDM)\|basestar]] as conceived by [[Gary Hutzel]] and the visual effects team. None of this is model anim- this all just CGI computer animation, giving a real sense of the interior and- which I think is just really, really great and the way it marries into the live action footage later on is really cool, too. This all very expensive stuff. This is another reason why this- these two episodes were way over our normal pattern budget. We had to save our pennies in previous episodes to afford this episode and then we also got the network and the studio to cut us some slack and give us some extra money just to do the finale. And in large part because they were so excited by the finale and the story, they wanted to see it as well. And they wanted to end [[Season 1 (2004-05)\|season one]] with a bang. With- end it with something really spectacular and exciting for the audience. And then, yeah, let's go out into the Cylon baseship. Now we're on the set. From this point forward, now you're on the actual set with our [[Raptor]]. There was a lot of tricky logistics about where does [[Sharon Valerii (Galactica copy)\|Sharon]] stand so that [[Margaret Edmondson\|Racetrack]] can see her moving around but doesn't see all the [[Number Eight\|Sharons]] that are coming up. So that was all difficult. And this is a lot of very complicated lighting. [[~~Richar~~ Hudolin\|Richard]] and his team and the production design and trying to come up with something that would be visually interesting and that you hadn't seen before and going through this bio- this organic/synthetic interior to the basestar that was reminicent of, but not exactly the same as, what we saw on the interior of the [[Cylon Raider\|Raider]] that Kara took. And this is the first time, I believe, that we've actually seen weaponry mounted on the exterior of the Raptors, at least on a practical set.		Here, again, you're seeing the interior of the [[Basestar (RDM)\|basestar]] as conceived by [[Gary Hutzel]] and the visual effects team. None of this is model anim- this all just CGI computer animation, giving a real sense of the interior and- which I think is just really, really great and the way it marries into the live action footage later on is really cool, too. This all very expensive stuff. This is another reason why this- these two episodes were way over our normal pattern budget. We had to save our pennies in previous episodes to afford this episode and then we also got the network and the studio to cut us some slack and give us some extra money just to do the finale. And in large part because they were so excited by the finale and the story, they wanted to see it as well. And they wanted to end [[Season 1 (2004-05)\|season one]] with a bang. With- end it with something really spectacular and exciting for the audience. And then, yeah, let's go out into the Cylon baseship. Now we're on the set. From this point forward, now you're on the actual set with our [[Raptor]]. There was a lot of tricky logistics about where does [[Sharon Valerii (Galactica copy)\|Sharon]] stand so that [[Margaret Edmondson\|Racetrack]] can see her moving around but doesn't see all the [[Number Eight\|Sharons]] that are coming up. So that was all difficult. And this is a lot of very complicated lighting. [[Richard Hudolin\|Richard]] and his team and the production design and trying to come up with something that would be visually interesting and that you hadn't seen before and going through this bio- this organic/synthetic interior to the basestar that was reminicent of, but not exactly the same as, what we saw on the interior of the [[Cylon Raider\|Raider]] that Kara took. And this is the first time, I believe, that we've actually seen weaponry mounted on the exterior of the Raptors, at least on a practical set.

	Now back to Caprica. This is- I believe this is an actual museum. I can't really remember. I think we set-decked this to an extent, but I think that this is an actual museum someplace. And now this- I'm totally wrong. I don't even remember. 'Cause now we- you shift from a museum location into the more rubble-strewn place which is some building site or something that we were using. Watching these two fight is really interesting. This is really them. This is really them doing their own thing and [[Tricia Helfer\|Trish]] is somebody who before the series never threw a punch. I don't think Trish had any training in fights or [[w:martial arts\|martial arts]] or anything like that. And she went into training specifically because we started to call for scenes where her character would have to first beat up [[Sharon Agathon\|Sharon]] and then do things like this. And she took it very seriously and really developed a style of fighting which feels very believable on-camera. And that is tricky. It's not as easy as it sounds. I mean, how many times have you watched t- film or tv and you just don't believe that the characters are really fighting or it looks phony or staged or made up.		Now back to Caprica. This is- I believe this is an actual museum. I can't really remember. I think we set-decked this to an extent, but I think that this is an actual museum someplace. And now this- I'm totally wrong. I don't even remember. 'Cause now we- you shift from a museum location into the more rubble-strewn place which is some building site or something that we were using. Watching these two fight is really interesting. This is really them. This is really them doing their own thing and [[Tricia Helfer\|Trish]] is somebody who before the series never threw a punch. I don't think Trish had any training in fights or [[w:martial arts\|martial arts]] or anything like that. And she went into training specifically because we started to call for scenes where her character would have to first beat up [[Sharon Agathon\|Sharon]] and then do things like this. And she took it very seriously and really developed a style of fighting which feels very believable on-camera. And that is tricky. It's not as easy as it sounds. I mean, how many times have you watched t- film or tv and you just don't believe that the characters are really fighting or it looks phony or staged or made up.

	Here on ''[[Colonial One]]'' the confrontation between the [[Colonial Marine Corps\|Marines]] and [[Laura Roslin\|Laura]]'s [[Presidential security service\|security detail]]. ~~(Podcast Cite Here 6~~:05) There used to be other scenes and other pieces of business that told you that the security detail had been hand-picked by [[Lee Adama\|Lee]] from civilians in [[The Fleet (RDM)\|the Fleet]] and it was responsible to Laura and answered only to Laura so her security detail has no allegiance to the [[Galactica (RDM)\|''Galactica'']] personnel. They were like former cops and security people. People with some kind of firearms training and somekind of background in something like that. But that the secret service, as it were, protecting ''Colonial One'' was a distinct entity from the Marines and from the deckhands, and from the people aboard ''Galactica'' and that had been something Lee himself had intentionally designed for her. Not really because he thought this day would come, but just because he thought it should be a separate command structure. That he didn't want to confuse the two lines of authority in who responded to who and who was under who's control.		Here on ''[[Colonial One]]'' the confrontation between the [[Colonial Marine Corps\|Marines]] and [[Laura Roslin\|Laura]]'s [[Presidential security service\|security detail]]. {{podcastref\|security\|00:06:05}} There used to be other scenes and other pieces of business that told you that the security detail had been hand-picked by [[Lee Adama\|Lee]] from civilians in [[The Fleet (RDM)\|the Fleet]] and it was responsible to Laura and answered only to Laura so her security detail has no allegiance to the [[Galactica (RDM)\|''Galactica'']] personnel. They were like former cops and security people. People with some kind of firearms training and somekind of background in something like that. But that the secret service, as it were, protecting ''Colonial One'' was a distinct entity from the Marines and from the deckhands, and from the people aboard ''Galactica'' and that had been something Lee himself had intentionally designed for her. Not really because he thought this day would come, but just because he thought it should be a separate command structure. That he didn't want to confuse the two lines of authority in who responded to who and who was under who's control.

	This whole sequence was very complicated, very difficult to shoot. It took a lot of work on the part of everybody to bring a (unintelligble). This is all- you can see the camera's moving. This is motion-control work, which is time consuming and complex. Sharon is- or not Sharon. [[Grace Park\|Grace]] is playing all of these people. It's all Grace walking into camera with very carefully done shadows so you don't see the "naughty parts". And you have to shoot this over and over again and you have to shoot it from every- she walks in on the left, she walks to the right, she walks to the middle. She is- a lot of walking. She has to hit the mark in-rhythm. She has to do the dialogue in-rhythm. They have to constantly look at the monitors and playback and doing a sequence like that is extraordinarily complex, which is why- one of the reasons why you don't see us doing lots of scenes with five Six's all together or five [[Number Five\|Dorals]] all together. They're fun, and interesting, but they're a bear to shoot. And you'll- so you end up only doing them when you've really, really are getting the most bang for your buck, not to just do it for the fun of it. Because the CG- the visual effects itself, just doing the motion control and doing- matting them all in and comping them in correctly and getting the perspectives right and the shadows. That's expensive. And then the production time it takes to actually shoot it on the set is also expensive because time is money on a sound stage. It's all about, "How long will it take us to shoot this?" And you find yourself constantly juggling those requirements. The budget and the time it would require to shoot a sequence.		This whole sequence was very complicated, very difficult to shoot. It took a lot of work on the part of everybody to bring a (unintelligble). This is all- you can see the camera's moving. This is motion-control work, which is time consuming and complex. Sharon is- or not Sharon. [[Grace Park\|Grace]] is playing all of these people. It's all Grace walking into camera with very carefully done shadows so you don't see the "naughty parts". And you have to shoot this over and over again and you have to shoot it from every- she walks in on the left, she walks to the right, she walks to the middle. She is- a lot of walking. She has to hit the mark in-rhythm. She has to do the dialogue in-rhythm. They have to constantly look at the monitors and playback and doing a sequence like that is extraordinarily complex, which is why- one of the reasons why you don't see us doing lots of scenes with five Six's all together or five [[Number Five\|Dorals]] all together. They're fun, and interesting, but they're a bear to shoot. And you'll- so you end up only doing them when you've really, really are getting the most bang for your buck, not to just do it for the fun of it. Because the CG- the visual effects itself, just doing the motion control and doing- matting them all in and comping them in correctly and getting the perspectives right and the shadows. That's expensive. And then the production time it takes to actually shoot it on the set is also expensive because time is money on a sound stage. It's all about, "How long will it take us to shoot this?" And you find yourself constantly juggling those requirements. The budget and the time it would require to shoot a sequence.

← Older revision		Revision as of 16:58, 21 November 2006
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	There was really- there was really no way to get the [[temple]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] and the temple on [[Kobol]] to work. They were too expensive. We could not believably make te- create temples practically on the stage, and then we were gonna CGI, do digital extensions of both sets to make it- to sell it in both locations, and it just became cost prohibitive. And likewise the surrounding of the temple and the big firefight that we were gonna do with a lot of [[Cylon Centurion\|Centurions]] and hovercraft and [[Cylon Raider (RDM)\|Raiders]] and all that. Laying siege, or about to lay siege, to the the temple on Kobol was another element that we just could not afford. So compromises have to be made and you're forced to think in other directions. And so this notion of the [[Arrow of Apollo\|arrow]] being not in a temple on Caprica but actually being in [[Delphi Museum of the Colonies\|a museum]], also seemed a little bit more real, more believable. It felt more real for society that is- has a [[Religion in the Twelve Colonies\|religious]] aspect to it. A lot of people are- take their religious seriously and are practicing a faith but there's a large secular community that probably either doesn't believe or believes in a very low-boil way. That by and large a lot of "religious" items and artifacts would have worked their way and found their way into museums. So that became a much easier justification for the museum on Caprica.		There was really- there was really no way to get the [[temple]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] and the temple on [[Kobol]] to work. They were too expensive. We could not believably make te- create temples practically on the stage, and then we were gonna CGI, do digital extensions of both sets to make it- to sell it in both locations, and it just became cost prohibitive. And likewise the surrounding of the temple and the big firefight that we were gonna do with a lot of [[Cylon Centurion\|Centurions]] and hovercraft and [[Cylon Raider (RDM)\|Raiders]] and all that. Laying siege, or about to lay siege, to the the temple on Kobol was another element that we just could not afford. So compromises have to be made and you're forced to think in other directions. And so this notion of the [[Arrow of Apollo\|arrow]] being not in a temple on Caprica but actually being in [[Delphi Museum of the Colonies\|a museum]], also seemed a little bit more real, more believable. It felt more real for society that is- has a [[Religion in the Twelve Colonies\|religious]] aspect to it. A lot of people are- take their religious seriously and are practicing a faith but there's a large secular community that probably either doesn't believe or believes in a very low-boil way. That by and large a lot of "religious" items and artifacts would have worked their way and found their way into museums. So that became a much easier justification for the museum on Caprica.

	And as far as the story on Kobol, that went through several iterations, and many changes. From going from two ground survey teams to just consolidating it into one, and also the decision not to put [[Lee Adama\|Lee]] down there. Where was Lee's role in this drama was something that took a lot of wrangling. If Lee is down on the planet surface, it required a different kind of story down there. He's in charge. It's his command. It's his mission. It's all about Lee. And- we were talking about some conflict between him [[Galen Tyrol\|Tyrol]], him and crew chief, and Tyrol questioning him in some ways, and Lee's leadership and growth. And ultimately it wasn't quite as satisfying that he wasn't back aboard [[Galactica (RDM)\|''Galactica'']] when his father is shot and when the [[Government_of_the_Twelve_Colonies#Executive_Branch_2\|President]] is deposed from power. It seemed like he should be back here and dealing with this story and by making that key change it allowed the Caprica s- the, sorry, the Kobol story to take on a different complexion. And as we, as you'll see, [[Alex Quartararo\|Crashdown]] is in charge down on the surface of Kobol, but he may not be the best man, the best leader, for that situation. And doubt starts to creep in about who they're- who's command they're under. And what will Tyrol do? You couldn't play that, really, if it was Lee, 'cause it's- he's just a more capable, more competent leader and he's expected to fill that role every week. But by making it Crashdown it becomes a legitimate like, "Ok. Wait a minute. Who's in charge here?" kind of a thing. And it also meant that if Lee is aboard ''Colonial'' or- if he's aboard ''Galactica'' and [[''Colonial One'']] in this- on this storyline, when they try to take down the President, it forces him to have to make a choice and it meant that he could have to pick [[Laura Roslin\|Laura]] over his father, and that he would go down for that, and he would be in [[brig\|jail]], and that he would be there in the room in han-, literally, in handcuffs, when the final moments of the episode went down, which I though was much stronger. And moving forward, it meant that Lee is with us aboard ''Galactica'' in this world at the beginning of [[Season 2 (2005-06)\|season two]], as opposed to being somewhere else that he has to be rescued and on a completely different story and having no idea what's even happening to his father, which didn't seem as satisfying.		And as far as the story on Kobol, that went through several iterations, and many changes. From going from two ground survey teams to just consolidating it into one, and also the decision not to put [[Lee Adama\|Lee]] down there. Where was Lee's role in this drama was something that took a lot of wrangling. If Lee is down on the planet surface, it required a different kind of story down there. He's in charge. It's his command. It's his mission. It's all about Lee. And- we were talking about some conflict between him [[Galen Tyrol\|Tyrol]], him and crew chief, and Tyrol questioning him in some ways, and Lee's leadership and growth. And ultimately it wasn't quite as satisfying that he wasn't back aboard [[Galactica (RDM)\|''Galactica'']] when his father is shot and when the [[Government_of_the_Twelve_Colonies#Executive_Branch_2\|President]] is deposed from power. It seemed like he should be back here and dealing with this story and by making that key change it allowed the Caprica s- the, sorry, the Kobol story to take on a different complexion. And as we, as you'll see, [[Alex Quartararo\|Crashdown]] is in charge down on the surface of Kobol, but he may not be the best man, the best leader, for that situation. And doubt starts to creep in about who they're- who's command they're under. And what will Tyrol do? You couldn't play that, really, if it was Lee, 'cause it's- he's just a more capable, more competent leader and he's expected to fill that role every week. But by making it Crashdown it becomes a legitimate like, "Ok. Wait a minute. Who's in charge here?" kind of a thing. And it also meant that if Lee is aboard ''Colonial'' or- if he's aboard ''Galactica'' and ''[[Colonial One]]'' in this- on this storyline, when they try to take down the President, it forces him to have to make a choice and it meant that he could have to pick [[Laura Roslin\|Laura]] over his father, and that he would go down for that, and he would be in [[brig\|jail]], and that he would be there in the room in han-, literally, in handcuffs, when the final moments of the episode went down, which I though was much stronger. And moving forward, it meant that Lee is with us aboard ''Galactica'' in this world at the beginning of [[Season 2 (2005-06)\|season two]], as opposed to being somewhere else that he has to be rescued and on a completely different story and having no idea what's even happening to his father, which didn't seem as satisfying.

	This storyline of ''Galactica'' starting to move toward deposing the President and staging a military coups is something that had been on the drawing board from the beginning. My initial story proposals for the [[Season 1 (2004-05)\|first season]] as contained in the [[Series bible\|bible]] and some other documents I wrote for the network, I always saw, initially, that the arc of the two characters of Laura and [[William Adama\|Adama]] was going to be, ok you think at first that she's dove and he's the hawk, but in truth she's capable of far tougher things than he is capable of and he's much more civil libertarian-minded, for lack of a better phrase, than she is. That the each of them has elements of both hawk and dove and that they're driven by character things not- they're not just archetypes that you push around. He's not always gonna do the military thing. She's not always gonna do the soft and touchy-feely thing. And that the arc for the season initially was that Laura was gonna go too far. Laura was gonna get caught up in the need to maintain security in a sit- in a Flee- in a situations such as this and that would force her to crackdown harder and harder on dissent and she would winnow away basic freedoms one by one. Adama was gonna be essentially the one tasked to carry out those orders. He was gonna become more, and more, and more uncomfortable with it as the season went on. And ultimately she would go too far and he would step in and he would institute a coups and by the end of season on she was gonna be in jail. He would have taken over as the military commander and declared [[w:martial law\|martial law]]. Which is exactly what neither of them wanted at the beginning. That's still where we end up. I mean, the journey along the way changed. Laura didn't really crackdown so much as she did was show teeth, show an ability to be pragmatic, show a willingness to cut- to stab [[Wallace Gray\|her friend]] in the back, to shove a [[Leoben Conoy\|Cylon]] out an airlock. You started to realize that she's capable of taking strong measures. But we didn't have to paint her quite so starkly as I was thinking initially, as being a badass and really going after people. It also didn't fit with [[Mary McDonnell\|Mary]]'s portrayal of Laura. So what did happen is you started to see that she's perfectly capable of doing what she thinks need to be done if she thinks she's right. She's gonna do it. And the more funda- the fundamental agreement of the civilian and the military leadership in [[The Fleet (RDM)\|the Fleet]] wa- seemed like the right place to play the conflict. That essentially if she breaks the vow she made in the [[miniseries]], the vow to let him have control over military decisions, that that would be the point where he would step in. He- you don't break your word to Adama. You just don't. And she did. And his a- his reaction to that is resolute and with a bit of sadness. I don't think he- he definitely doesn't want it. He doesn't want the command of the Fleet. He doesn't want to have to deal with the civilians. He doesn't want to do any of these things. But she broke her word to him. She got- she got [[Kara Thrace]], of all people, to turn against him and take a military asset away from the ''Galactica'' at the very moment that they were working on a plan to attack a Cylo- I mean. The reas- there's just so many reasons. He had to do it. He has to act against her. And she knows full well that he's gonna do that. That is also part of the story is that when she made that decision she- it was in- with her eyes wide open. She knew what it was going to mean. That he was coming for her. Which is the reason why she had the [[Colonial Press\|Press]] on board, was she wanted it to be public. She didn't- she wanted people to know what was really at stake.		This storyline of ''Galactica'' starting to move toward deposing the President and staging a military coups is something that had been on the drawing board from the beginning. My initial story proposals for the [[Season 1 (2004-05)\|first season]] as contained in the [[Series bible\|bible]] and some other documents I wrote for the network, I always saw, initially, that the arc of the two characters of Laura and [[William Adama\|Adama]] was going to be, ok you think at first that she's dove and he's the hawk, but in truth she's capable of far tougher things than he is capable of and he's much more civil libertarian-minded, for lack of a better phrase, than she is. That the each of them has elements of both hawk and dove and that they're driven by character things not- they're not just archetypes that you push around. He's not always gonna do the military thing. She's not always gonna do the soft and touchy-feely thing. And that the arc for the season initially was that Laura was gonna go too far. Laura was gonna get caught up in the need to maintain security in a sit- in a Flee- in a situations such as this and that would force her to crackdown harder and harder on dissent and she would winnow away basic freedoms one by one. Adama was gonna be essentially the one tasked to carry out those orders. He was gonna become more, and more, and more uncomfortable with it as the season went on. And ultimately she would go too far and he would step in and he would institute a coups and by the end of season on she was gonna be in jail. He would have taken over as the military commander and declared [[w:martial law\|martial law]]. Which is exactly what neither of them wanted at the beginning. That's still where we end up. I mean, the journey along the way changed. Laura didn't really crackdown so much as she did was show teeth, show an ability to be pragmatic, show a willingness to cut- to stab [[Wallace Gray\|her friend]] in the back, to shove a [[Leoben Conoy\|Cylon]] out an airlock. You started to realize that she's capable of taking strong measures. But we didn't have to paint her quite so starkly as I was thinking initially, as being a badass and really going after people. It also didn't fit with [[Mary McDonnell\|Mary]]'s portrayal of Laura. So what did happen is you started to see that she's perfectly capable of doing what she thinks need to be done if she thinks she's right. She's gonna do it. And the more funda- the fundamental agreement of the civilian and the military leadership in [[The Fleet (RDM)\|the Fleet]] wa- seemed like the right place to play the conflict. That essentially if she breaks the vow she made in the [[miniseries]], the vow to let him have control over military decisions, that that would be the point where he would step in. He- you don't break your word to Adama. You just don't. And she did. And his a- his reaction to that is resolute and with a bit of sadness. I don't think he- he definitely doesn't want it. He doesn't want the command of the Fleet. He doesn't want to have to deal with the civilians. He doesn't want to do any of these things. But she broke her word to him. She got- she got [[Kara Thrace]], of all people, to turn against him and take a military asset away from the ''Galactica'' at the very moment that they were working on a plan to attack a Cylo- I mean. The reas- there's just so many reasons. He had to do it. He has to act against her. And she knows full well that he's gonna do that. That is also part of the story is that when she made that decision she- it was in- with her eyes wide open. She knew what it was going to mean. That he was coming for her. Which is the reason why she had the [[Colonial Press\|Press]] on board, was she wanted it to be public. She didn't- she wanted people to know what was really at stake.

← Older revision		Revision as of 21:58, 20 November 2006
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	This was, I think, [[David Eick]]- This was David Eick's idea, way back when. When he- midseason we first started talking about the finale, he was very excited about the idea of seeing Starbuck and Six really go at it. Really do a fight between the two of them. No holds barred. And that stayed through all the drafts. That Six and Starbuck were gonna fight at some point.		This was, I think, [[David Eick]]- This was David Eick's idea, way back when. When he- midseason we first started talking about the finale, he was very excited about the idea of seeing Starbuck and Six really go at it. Really do a fight between the two of them. No holds barred. And that stayed through all the drafts. That Six and Starbuck were gonna fight at some point.

	Here, again, you're seeing the interior of the [[Basestar (RDM)\|basestar]] as conceived by [[Gary Hutzel]] and the visual effects team. None of this is model anim- this all just CGI computer animation, giving a real sense of the interior and- which I think is just really, really great and the way it marries into the live action footage later on is really cool, too. This all very expensive stuff. This is another reason why this- these two episodes were way over our normal pattern budget. We had to save our pennies in previous episodes to afford this episode and then we also got the network and the studio to cut us some slack and give us some extra money just to do the finale. And in large part because they were so excited by the finale and the story, they wanted to see it as well. And they wanted to end [[Season 1 (2004-05)\|season one]] with a bang. With- end it with something really spectacular and exciting for the audience. And then, yeah, let's go out into the Cylon baseship. Now we're on the set. From this point forward, now you're on the actual set with our [[Raptor]]. There was a lot of tricky logistics about where does [[Sharon Valerii (Galactica copy)\|Sharon]] stand so that [[Margaret Edmondson\|Racetrack]] can see her moving around but doesn't see all the [[Number Eight\|Sharons]] that are coming up. So that was all difficult. And this is a lot of very complicated lighting. [[~~Richar~~ Hudolin\|Richard]] and his team and the production design and trying to come up with something that would be visually interesting and that you hadn't seen before and going through this bio- this organic/synthetic interior to the basestar that was reminicent of, but not exactly the same as, what we saw on the interior of the [[Cylon Raider\|Raider]] that Kara took. And this is the first time, I believe, that we've actually seen weaponry mounted on the exterior of the Raptors, at least on a practical set.		Here, again, you're seeing the interior of the [[Basestar (RDM)\|basestar]] as conceived by [[Gary Hutzel]] and the visual effects team. None of this is model anim- this all just CGI computer animation, giving a real sense of the interior and- which I think is just really, really great and the way it marries into the live action footage later on is really cool, too. This all very expensive stuff. This is another reason why this- these two episodes were way over our normal pattern budget. We had to save our pennies in previous episodes to afford this episode and then we also got the network and the studio to cut us some slack and give us some extra money just to do the finale. And in large part because they were so excited by the finale and the story, they wanted to see it as well. And they wanted to end [[Season 1 (2004-05)\|season one]] with a bang. With- end it with something really spectacular and exciting for the audience. And then, yeah, let's go out into the Cylon baseship. Now we're on the set. From this point forward, now you're on the actual set with our [[Raptor]]. There was a lot of tricky logistics about where does [[Sharon Valerii (Galactica copy)\|Sharon]] stand so that [[Margaret Edmondson\|Racetrack]] can see her moving around but doesn't see all the [[Number Eight\|Sharons]] that are coming up. So that was all difficult. And this is a lot of very complicated lighting. [[Richard Hudolin\|Richard]] and his team and the production design and trying to come up with something that would be visually interesting and that you hadn't seen before and going through this bio- this organic/synthetic interior to the basestar that was reminicent of, but not exactly the same as, what we saw on the interior of the [[Cylon Raider\|Raider]] that Kara took. And this is the first time, I believe, that we've actually seen weaponry mounted on the exterior of the Raptors, at least on a practical set.

	Now back to Caprica. This is- I believe this is an actual museum. I can't really remember. I think we set-decked this to an extent, but I think that this is an actual museum someplace. And now this- I'm totally wrong. I don't even remember. 'Cause now we- you shift from a museum location into the more rubble-strewn place which is some building site or something that we were using. Watching these two fight is really interesting. This is really them. This is really them doing their own thing and [[Tricia Helfer\|Trish]] is somebody who before the series never threw a punch. I don't think Trish had any training in fights or [[w:martial arts\|martial arts]] or anything like that. And she went into training specifically because we started to call for scenes where her character would have to first beat up [[Sharon Agathon\|Sharon]] and then do things like this. And she took it very seriously and really developed a style of fighting which feels very believable on-camera. And that is tricky. It's not as easy as it sounds. I mean, how many times have you watched t- film or tv and you just don't believe that the characters are really fighting or it looks phony or staged or made up.		Now back to Caprica. This is- I believe this is an actual museum. I can't really remember. I think we set-decked this to an extent, but I think that this is an actual museum someplace. And now this- I'm totally wrong. I don't even remember. 'Cause now we- you shift from a museum location into the more rubble-strewn place which is some building site or something that we were using. Watching these two fight is really interesting. This is really them. This is really them doing their own thing and [[Tricia Helfer\|Trish]] is somebody who before the series never threw a punch. I don't think Trish had any training in fights or [[w:martial arts\|martial arts]] or anything like that. And she went into training specifically because we started to call for scenes where her character would have to first beat up [[Sharon Agathon\|Sharon]] and then do things like this. And she took it very seriously and really developed a style of fighting which feels very believable on-camera. And that is tricky. It's not as easy as it sounds. I mean, how many times have you watched t- film or tv and you just don't believe that the characters are really fighting or it looks phony or staged or made up.

	Here on ''[[Colonial One]]'' the confrontation between the [[Colonial Marine Corps\|Marines]] and [[Laura Roslin\|Laura]]'s [[Presidential security service\|security detail]]. ~~(Podcast Cite Here 6~~:05) There used to be other scenes and other pieces of business that told you that the security detail had been hand-picked by [[Lee Adama\|Lee]] from civilians in [[The Fleet (RDM)\|the Fleet]] and it was responsible to Laura and answered only to Laura so her security detail has no allegiance to the [[Galactica (RDM)\|''Galactica'']] personnel. They were like former cops and security people. People with some kind of firearms training and somekind of background in something like that. But that the secret service, as it were, protecting ''Colonial One'' was a distinct entity from the Marines and from the deckhands, and from the people aboard ''Galactica'' and that had been something Lee himself had intentionally designed for her. Not really because he thought this day would come, but just because he thought it should be a separate command structure. That he didn't want to confuse the two lines of authority in who responded to who and who was under who's control.		Here on ''[[Colonial One]]'' the confrontation between the [[Colonial Marine Corps\|Marines]] and [[Laura Roslin\|Laura]]'s [[Presidential security service\|security detail]]. {{podcastref\|security\|00:06:05}} There used to be other scenes and other pieces of business that told you that the security detail had been hand-picked by [[Lee Adama\|Lee]] from civilians in [[The Fleet (RDM)\|the Fleet]] and it was responsible to Laura and answered only to Laura so her security detail has no allegiance to the [[Galactica (RDM)\|''Galactica'']] personnel. They were like former cops and security people. People with some kind of firearms training and somekind of background in something like that. But that the secret service, as it were, protecting ''Colonial One'' was a distinct entity from the Marines and from the deckhands, and from the people aboard ''Galactica'' and that had been something Lee himself had intentionally designed for her. Not really because he thought this day would come, but just because he thought it should be a separate command structure. That he didn't want to confuse the two lines of authority in who responded to who and who was under who's control.

	This whole sequence was very complicated, very difficult to shoot. It took a lot of work on the part of everybody to bring a (unintelligble). This is all- you can see the camera's moving. This is motion-control work, which is time consuming and complex. Sharon is- or not Sharon. [[Grace Park\|Grace]] is playing all of these people. It's all Grace walking into camera with very carefully done shadows so you don't see the "naughty parts". And you have to shoot this over and over again and you have to shoot it from every- she walks in on the left, she walks to the right, she walks to the middle. She is- a lot of walking. She has to hit the mark in-rhythm. She has to do the dialogue in-rhythm. They have to constantly look at the monitors and playback and doing a sequence like that is extraordinarily complex, which is why- one of the reasons why you don't see us doing lots of scenes with five Six's all together or five [[Number Five\|Dorals]] all together. They're fun, and interesting, but they're a bear to shoot. And you'll- so you end up only doing them when you've really, really are getting the most bang for your buck, not to just do it for the fun of it. Because the CG- the visual effects itself, just doing the motion control and doing- matting them all in and comping them in correctly and getting the perspectives right and the shadows. That's expensive. And then the production time it takes to actually shoot it on the set is also expensive because time is money on a sound stage. It's all about, "How long will it take us to shoot this?" And you find yourself constantly juggling those requirements. The budget and the time it would require to shoot a sequence.		This whole sequence was very complicated, very difficult to shoot. It took a lot of work on the part of everybody to bring a (unintelligble). This is all- you can see the camera's moving. This is motion-control work, which is time consuming and complex. Sharon is- or not Sharon. [[Grace Park\|Grace]] is playing all of these people. It's all Grace walking into camera with very carefully done shadows so you don't see the "naughty parts". And you have to shoot this over and over again and you have to shoot it from every- she walks in on the left, she walks to the right, she walks to the middle. She is- a lot of walking. She has to hit the mark in-rhythm. She has to do the dialogue in-rhythm. They have to constantly look at the monitors and playback and doing a sequence like that is extraordinarily complex, which is why- one of the reasons why you don't see us doing lots of scenes with five Six's all together or five [[Number Five\|Dorals]] all together. They're fun, and interesting, but they're a bear to shoot. And you'll- so you end up only doing them when you've really, really are getting the most bang for your buck, not to just do it for the fun of it. Because the CG- the visual effects itself, just doing the motion control and doing- matting them all in and comping them in correctly and getting the perspectives right and the shadows. That's expensive. And then the production time it takes to actually shoot it on the set is also expensive because time is money on a sound stage. It's all about, "How long will it take us to shoot this?" And you find yourself constantly juggling those requirements. The budget and the time it would require to shoot a sequence.