Podcast:Pegasus - Revision history

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

2025-06-15T21:32:28Z

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

← Older revision		Revision as of 21:32, 15 June 2025
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	This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. {{podcastref\|GINO}}And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.		This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. {{podcastref\|GINO}}And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.

	This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies ~~(RDM)~~#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)		This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies of Kobol#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)

	This scene was also much longer. There was a bit of discussion here about the G- ''Pegasus'' being a [[Mercury class battlestar]]. There was a brief discussion of the differences between the two and an interesting little side discussion about the fact that there's no chairs in the room. Cain mentions that she can't offer them a place to sit because she'd always found it easier to work standing up, it was easier on her back, and she discovered that if she had no chairs in the room meetings with her senior officers went much faster. And I got that from, of all people, [[Wikipedia:John R. Bolton\|John Bolton]], who is the current American ambassador to the United Nations... a topic that we will not get into. But there was some piece that talked about Bolton's style, or lack of style, with his staff and he mentions at some point that he made his staff come into his office and hold all the meetings standing up because he wanted to get through the meetings rather quickly and he found that if he made his staff stand during the entire meeting that they got through it much faster. And I thought, "That's such a- That is just says SO much about that man." And I thought it was a really interesting telling bit of character, so I used it here that Cain was that kind of person. Cain was the kind of person that would make her staff stand just to get them in there- out of there as fast as she could.		This scene was also much longer. There was a bit of discussion here about the G- ''Pegasus'' being a [[Mercury class battlestar]]. There was a brief discussion of the differences between the two and an interesting little side discussion about the fact that there's no chairs in the room. Cain mentions that she can't offer them a place to sit because she'd always found it easier to work standing up, it was easier on her back, and she discovered that if she had no chairs in the room meetings with her senior officers went much faster. And I got that from, of all people, [[Wikipedia:John R. Bolton\|John Bolton]], who is the current American ambassador to the United Nations... a topic that we will not get into. But there was some piece that talked about Bolton's style, or lack of style, with his staff and he mentions at some point that he made his staff come into his office and hold all the meetings standing up because he wanted to get through the meetings rather quickly and he found that if he made his staff stand during the entire meeting that they got through it much faster. And I thought, "That's such a- That is just says SO much about that man." And I thought it was a really interesting telling bit of character, so I used it here that Cain was that kind of person. Cain was the kind of person that would make her staff stand just to get them in there- out of there as fast as she could.
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	This act four was just a barrel- just a barrel of laughs to write, (chuckles) and I mean that in all seriousness. I loved working on this end sequence with [[Anne Cofell Saunders\|Anne]], of making this really just start to pick up momentum and events start spiraling out of control. And this leads to the moment of [[William Adama\|Adama]]- Adama launches the [[Viper (RDM)\|Vipers]] and says, "I'm gettin' my men back." And there's something really interesting about the fact that the man who's been obeying the rules and doing the right thing, admitting his mistakes... there comes a point where, right or wrong, he's not going to let [[Helena Cain\|her]] execute his men without a trial. He's just not going to do that. There are places that Adama will not go. And I love that in this moment she nails him on the tribunal thing, that last year during "[[Litmus]]" he dissolved a tribunal when he didn't like the answer. And he- it hits him. It registers on the character in that moment. He knows that that too is true. And the fact that it's true doesn't mean that he doesn't feel the way that he feels in this- in this scene. And when he finds out a moment later that they had been sentenced to death, it felt right that Adama, the man who [[You Can't Go Home Again\|risked so many lives]] when [[Kara Thrace]] was lost down on that planet, that we would, again, do anything it took to save the men that were under his command. His bond with them had- was that strong. And you could argue- you could very logically argue that that's a profound mistake on his part, that that's a command flaw. But, people have flaws. And that's one of his blind spots. It's one of the places where Adama is not the ideal commander, if you want to look at it that way. In many other ways he is [[Humanoid Cylon speculation#William Adama?\|the most human commander of them all]], he's the most... he's very human.		This act four was just a barrel- just a barrel of laughs to write, (chuckles) and I mean that in all seriousness. I loved working on this end sequence with [[Anne Cofell Saunders\|Anne]], of making this really just start to pick up momentum and events start spiraling out of control. And this leads to the moment of [[William Adama\|Adama]]- Adama launches the [[Viper (RDM)\|Vipers]] and says, "I'm gettin' my men back." And there's something really interesting about the fact that the man who's been obeying the rules and doing the right thing, admitting his mistakes... there comes a point where, right or wrong, he's not going to let [[Helena Cain\|her]] execute his men without a trial. He's just not going to do that. There are places that Adama will not go. And I love that in this moment she nails him on the tribunal thing, that last year during "[[Litmus]]" he dissolved a tribunal when he didn't like the answer. And he- it hits him. It registers on the character in that moment. He knows that that too is true. And the fact that it's true doesn't mean that he doesn't feel the way that he feels in this- in this scene. And when he finds out a moment later that they had been sentenced to death, it felt right that Adama, the man who [[You Can't Go Home Again\|risked so many lives]] when [[Kara Thrace]] was lost down on that planet, that we would, again, do anything it took to save the men that were under his command. His bond with them had- was that strong. And you could argue- you could very logically argue that that's a profound mistake on his part, that that's a command flaw. But, people have flaws. And that's one of his blind spots. It's one of the places where Adama is not the ideal commander, if you want to look at it that way. In many other ways he is [[Humanoid Cylon speculation#William Adama?\|the most human commander of them all]], he's the most... he's very human.

	This beat with [[Gaius Baltar\|Baltar]] and [[Gina]]... was something that I wrote in one sitting. There were a couple of earlier versions of the scene and none of them were quite working and I liked the idea that Baltar sitting and really... exposing himself emotionally and talking really in very frank terms about the experience he has had with [[Number Six\|Six]] and with [[Caprica-Six\|Six on Caprica]] and what she means to him in a very real and profound way. And he would do it in this context, in that it was just a monologue. And I felt really comfortable just writing a monologue for [[James Callis\|James]] because I knew that James would embrace it and would really sink his teeth into it and really make it sing. And he really does. He completely draws me into this- this scene. I'm really there with him throughout this whole little piece here. And it's interesting, 'cause this is the man that participated in the [[Fall of the Twelve Colonies\|genocide]], inadvertently, but essentially is one of the people who is responsible for the entire situation. And yet in this moment, he's human, and you connect to him as a human being and he's having a connection to the personification of evil in the show, the personification of all the [[The Twelve Colonies ~~(RDM)~~\|Colonials]] think is evil. A [[Cylons (RDM)\|Cylon]]. A Cylon who let people die on this very ship. It is said that Gina let people get on board [[Galactica (RDM)\|''Galactica'']]. She was- she was a participant. She wasn't just an innocent bystander. She was somebody who helped kill men and women aboard [[Pegasus (RDM)\|''Pegasus'']], and that's part of the reason why she's in that brig. But here, in this situation, in this context, your feelings are drawn into the place where the two characters are, and you're really hooked into them as people, feeling what they're feeling, even understanding the things that each of them has done. And the- the really bad choices, again, and horrific choices that each of them has made.		This beat with [[Gaius Baltar\|Baltar]] and [[Gina]]... was something that I wrote in one sitting. There were a couple of earlier versions of the scene and none of them were quite working and I liked the idea that Baltar sitting and really... exposing himself emotionally and talking really in very frank terms about the experience he has had with [[Number Six\|Six]] and with [[Caprica-Six\|Six on Caprica]] and what she means to him in a very real and profound way. And he would do it in this context, in that it was just a monologue. And I felt really comfortable just writing a monologue for [[James Callis\|James]] because I knew that James would embrace it and would really sink his teeth into it and really make it sing. And he really does. He completely draws me into this- this scene. I'm really there with him throughout this whole little piece here. And it's interesting, 'cause this is the man that participated in the [[Fall of the Twelve Colonies\|genocide]], inadvertently, but essentially is one of the people who is responsible for the entire situation. And yet in this moment, he's human, and you connect to him as a human being and he's having a connection to the personification of evil in the show, the personification of all the [[The Twelve Colonies of Kobol\|Colonials]] think is evil. A [[Cylons (RDM)\|Cylon]]. A Cylon who let people die on this very ship. It is said that Gina let people get on board [[Galactica (RDM)\|''Galactica'']]. She was- she was a participant. She wasn't just an innocent bystander. She was somebody who helped kill men and women aboard [[Pegasus (RDM)\|''Pegasus'']], and that's part of the reason why she's in that brig. But here, in this situation, in this context, your feelings are drawn into the place where the two characters are, and you're really hooked into them as people, feeling what they're feeling, even understanding the things that each of them has done. And the- the really bad choices, again, and horrific choices that each of them has made.

	It's such a disturbing image seeing [[Tricia Helfer\|Trish]] lying there like that. The look on her face, and this- this- again, just a nice little piece of- that, the arm coming over... the way she reaches out for just the- a little bit of food. It just- it's such a small thing that speaks volumes about where the character is in that moment. And it doesn't require any dialogue. It's a completely visual- visual moment. (Sound of Zippo lighter.) And he knows he's gotten through to her on some level.		It's such a disturbing image seeing [[Tricia Helfer\|Trish]] lying there like that. The look on her face, and this- this- again, just a nice little piece of- that, the arm coming over... the way she reaches out for just the- a little bit of food. It just- it's such a small thing that speaks volumes about where the character is in that moment. And it doesn't require any dialogue. It's a completely visual- visual moment. (Sound of Zippo lighter.) And he knows he's gotten through to her on some level.

Joe Beaudoin Jr.: Text replacement - "Peter Farago" to "April Arcus"

2020-04-11T01:58:24Z

Text replacement - "Peter Farago" to "April Arcus"

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	\|verified by= [[User:~~Peter Farago~~\|~~Peter Farago~~]]<br/>[[User:Laineylain\|Laineylain]]<br/>[[User:Shane\|Shane]]		\|verified by= [[User:April Arcus\|April Arcus]]<br/>[[User:Laineylain\|Laineylain]]<br/>[[User:Shane\|Shane]]
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Serenity: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_5of5.mp3 Act 4] */

2008-02-27T20:02:27Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_5of5.mp3 Act 4]

← Older revision		Revision as of 20:02, 27 February 2008
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	(Chuckles.) I love to hate [[Cole Taylor\|Stinger]]. (Laughs.) I love just how much I hate him. (Chuckles.)		(Chuckles.) I love to hate [[Cole Taylor\|Stinger]]. (Laughs.) I love just how much I hate him. (Chuckles.)

	This scene used to take place on the [[~~Hangar~~ deck]], as I recall, and then we moved it to the corridor for production reasons. I don't think there was any other reason. I love the look here on Eddie's face when he hears the news and when he takes this news. It's like it physically hits him. Right there. You just feel like you just got- you just got hit in the gut. And the man- I mean, look at that, he's like really- and he knows what he's about to do, and he knows how far he is willing to go, and he's willing to go pretty frickin' far. And it's like... the determination of the man, I mean I- look at him. Look at Eddie go. Jesus Christ! (Laughs.) '''That''' is Commander Adama. (Chuckles.) At least that's the Commander Adama I wanna be serving with.		This scene used to take place on the [[hangar deck]], as I recall, and then we moved it to the corridor for production reasons. I don't think there was any other reason. I love the look here on Eddie's face when he hears the news and when he takes this news. It's like it physically hits him. Right there. You just feel like you just got- you just got hit in the gut. And the man- I mean, look at that, he's like really- and he knows what he's about to do, and he knows how far he is willing to go, and he's willing to go pretty frickin' far. And it's like... the determination of the man, I mean I- look at him. Look at Eddie go. Jesus Christ! (Laughs.) '''That''' is Commander Adama. (Chuckles.) At least that's the Commander Adama I wanna be serving with.

	The design of the ''Pegasus'' itself was the subject of much discussion, obviously, with [[Richard Hudolin]] and [http://www.imdb.com/name/nm0404690/ Gary Hutzel]. We saw various designs. Some of them were too far a departure from ''Galactica'' and others were just too close and it was- the trick was to do the aircraft carrier metaphor I mentioned earlier. All aircraft carriers share a certain profile, share certain design elements. They all have a big flat deck, they all have an island, they all are recognizable from a distance. If you see the [[Wikipedia:USS Enterprise (CV-6)\|''Enterprise'' from World War II]] and then you see the [[Wikipedia:USS Enterprise (CVN-65)\|''Enterprise'' of today]], yes there's many obvious differences, but the fundamentals are still there. It's still a flight deck, a hangar deck, a bridge- or an island with a bridge on it.		The design of the ''Pegasus'' itself was the subject of much discussion, obviously, with [[Richard Hudolin]] and [http://www.imdb.com/name/nm0404690/ Gary Hutzel]. We saw various designs. Some of them were too far a departure from ''Galactica'' and others were just too close and it was- the trick was to do the aircraft carrier metaphor I mentioned earlier. All aircraft carriers share a certain profile, share certain design elements. They all have a big flat deck, they all have an island, they all are recognizable from a distance. If you see the [[Wikipedia:USS Enterprise (CV-6)\|''Enterprise'' from World War II]] and then you see the [[Wikipedia:USS Enterprise (CVN-65)\|''Enterprise'' of today]], yes there's many obvious differences, but the fundamentals are still there. It's still a flight deck, a hangar deck, a bridge- or an island with a bridge on it.

	This is a very big throw of the dice from Adama, and how far is he willing to go? Well, you'll have to come back and see us in January to see how far either one of them is willing to go. But I like the fact that the show builds to this point. Where it becomes like, "No, I will not do this. I will not let you execute my men." (Chuckles.) And back. Now what's she gonna do? Well, I mean, this is the cliffhanger ending for season 2b. I won't have the pleasure of speaking to you again for several months. I hope you've enjoyed season 2b- 2a, sorry, 2a of [[Battlestar Galactica (RDM)\|Battlestar Galactica]]. I know I have. I continue to appreciate all your support, and I appreciate your patience in waiting for these podcasts and [http://blog.scifi.com/battlestar/ the blog] that- the blog that sometimes never was. This is just one of those great endings that we just append to our visual effects guys and just say, "Give us a gre- a hell of an ending with the Vipers flying at each other and coming right at the camera and we'll just cut." And that's how you do a cliffhanger boys and girls. Well, thank you very much, and I'll talk to you again in January. Goodnight.		This is a very big throw of the dice from Adama, and how far is he willing to go? Well, you'll have to come back and see us in January to see how far either one of them is willing to go. But I like the fact that the show builds to this point. Where it becomes like, "No, I will not do this. I will not let you execute my men." (Chuckles.) And back. Now what's she gonna do? Well, I mean, this is the cliffhanger ending for season 2b. I won't have the pleasure of speaking to you again for several months. I hope you've enjoyed season 2b- 2a, sorry, 2a of ''[[Battlestar Galactica (RDM)\|Battlestar Galactica]]''. I know I have. I continue to appreciate all your support, and I appreciate your patience in waiting for these podcasts and [http://blog.scifi.com/battlestar/ the blog] that- the blog that sometimes never was. This is just one of those great endings that we just append to our visual effects guys and just say, "Give us a gre- a hell of an ending with the Vipers flying at each other and coming right at the camera and we'll just cut." And that's how you do a cliffhanger boys and girls. Well, thank you very much, and I'll talk to you again in January. Goodnight.

	{{Podcast list (RDM season 2)}}		{{Podcast list (RDM season 2)}}

Catrope: disamb

2008-02-27T19:57:30Z

disamb

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	\|season=2		\|season=2
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Catrope: {{podcast data}}

2008-02-27T19:53:12Z

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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser]==

Catrope: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_3of5.mp3 Act 2] */ +podcastref

2007-11-07T17:19:40Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_3of5.mp3 Act 2]: +podcastref

← Older revision		Revision as of 17:19, 7 November 2007
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	This storyline is one of the darker storylines we came up with and, boy, we just really all loved it that you would come in here and there would be this woman who looks like [[Number Six\|Six]], and what would happen. To put a story where Baltar comes across the tortured and gang-raped Six of his dreams and be forced to, like, deal with her. There was something SO powerful about that idea and it would speak to really the heart of who the man is now and what goes on in his life to then be confronted with another Six, and that this Six had gone through this horrific experience and wasn't the powerful, sexy woman that we've come to know but in this case had been reduced to this state where she's lying virtually catatonic on the floor. A lot of controversy about that. About how dark we were going here. But ultimately we were able to keep it going. I felt this was a very strong and important part of the show. An interesting thing about the scene is that in large part it's hard to recognize that that's even [[Tricia Helfer\|Tricia]] down there. Tricia is one of those chameleon-type actresses that if you change her hair and change her clothes she can really disappear into a different kind of character, and all- we kept having this concern. We'd look at this footage and go, "Well, my god. Can you tell that it's Six?" (laughs) We had to keep doing these tie-in shots where you're doing visual effects shots just to prove that it's the same woman. There was a lot of that. It was just hard to fight the fact that Tricia is really just able to disappear physically and personally inside this other person.		This storyline is one of the darker storylines we came up with and, boy, we just really all loved it that you would come in here and there would be this woman who looks like [[Number Six\|Six]], and what would happen. To put a story where Baltar comes across the tortured and gang-raped Six of his dreams and be forced to, like, deal with her. There was something SO powerful about that idea and it would speak to really the heart of who the man is now and what goes on in his life to then be confronted with another Six, and that this Six had gone through this horrific experience and wasn't the powerful, sexy woman that we've come to know but in this case had been reduced to this state where she's lying virtually catatonic on the floor. A lot of controversy about that. About how dark we were going here. But ultimately we were able to keep it going. I felt this was a very strong and important part of the show. An interesting thing about the scene is that in large part it's hard to recognize that that's even [[Tricia Helfer\|Tricia]] down there. Tricia is one of those chameleon-type actresses that if you change her hair and change her clothes she can really disappear into a different kind of character, and all- we kept having this concern. We'd look at this footage and go, "Well, my god. Can you tell that it's Six?" (laughs) We had to keep doing these tie-in shots where you're doing visual effects shots just to prove that it's the same woman. There was a lot of that. It was just hard to fight the fact that Tricia is really just able to disappear physically and personally inside this other person.

	This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.		This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. {{podcastref\|GINO}}And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.

	This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)		This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)

Serenity: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_4of5.mp3 Act 3] */

2007-08-01T23:16:32Z

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	I really like [[Edward James Olmos\|Eddie]] in this scene. This is a classic Eddie moment where he just barks at his officers and they just shut the fuck up. (laughs) And you would. If Edward James Olmos looked at you with that look on his face and told you that was enough you would snap to as well. Trust me. (laughs)		I really like [[Edward James Olmos\|Eddie]] in this scene. This is a classic Eddie moment where he just barks at his officers and they just shut the fuck up. (laughs) And you would. If Edward James Olmos looked at you with that look on his face and told you that was enough you would snap to as well. Trust me. (laughs)

	I kinda like the fact that he's supporting [[Helena Cain\|Cain]] in this. That he's not making excuses for her, and he's not apologizing for what's happening. He's saying, "You know what? She's right." And she is- like I said a moment ago she is right. And it was important to me that his character acknowledged the truth of that statement and say, "Ok. You know what? I am back in ~~[[Colonial Fleet (RDM)\|Colonial Fleet\|~~the fleet]]. She's an [[Military Ranks (RDM)\|admiral]]. She's right. We are transferring these people. Period. End of story." To me that buys him a lot of leeway within the tale.		I kinda like the fact that he's supporting [[Helena Cain\|Cain]] in this. That he's not making excuses for her, and he's not apologizing for what's happening. He's saying, "You know what? She's right." And she is- like I said a moment ago she is right. And it was important to me that his character acknowledged the truth of that statement and say, "Ok. You know what? I am back in the fleet. She's an [[Military Ranks (RDM)\|admiral]]. She's right. We are transferring these people. Period. End of story." To me that buys him a lot of leeway within the tale.

	This whole thing with the photo recon mission against the [[Cylons (RDM)\|Cylons]], we had versions where Star- you followed all of them out there to go do the photo recon mission and saw [[Kara Thrace\|Kara]] do her thing and played all that on camera and then we cu- we actually cut it before it was even filmed. It was sort of an unnecessary side trip that was going to cost us a lot of money in visual effects in a show that was already way over-pattern in many departments, and so we couldn't really afford to do that, it chewed up a lot of screen time, and it was really beside the point. It wasn't really about watching them carry out a photo mission. I mean, it's not a battle. I mean, you would play the suspense of it, and that, and the tension of it. But the joy of this episode, and the joy of the great episodes is with the people, with being inside the ship and really dealing with the problems they've all been handed.		This whole thing with the photo recon mission against the [[Cylons (RDM)\|Cylons]], we had versions where Star- you followed all of them out there to go do the photo recon mission and saw [[Kara Thrace\|Kara]] do her thing and played all that on camera and then we cu- we actually cut it before it was even filmed. It was sort of an unnecessary side trip that was going to cost us a lot of money in visual effects in a show that was already way over-pattern in many departments, and so we couldn't really afford to do that, it chewed up a lot of screen time, and it was really beside the point. It wasn't really about watching them carry out a photo mission. I mean, it's not a battle. I mean, you would play the suspense of it, and that, and the tension of it. But the joy of this episode, and the joy of the great episodes is with the people, with being inside the ship and really dealing with the problems they've all been handed.

Serenity: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_2of5.mp3 Act 1] */

2007-08-01T23:15:24Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_2of5.mp3 Act 1]

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	We started with the premise of [[Helena Cain\|Cain]] showing up and being a hardass. I like that. I like the kernel of that. That another [[Mercury class battlestar\|battlestar]] comes on the scene and their commander is a tougher one than ours is, and is a bit of a crazy person. On top of that, what I thought was even more interesting was then to say, "Well what if that commander shows up and they outrank [[William Adama\|Adama]]? What if that commander shows up and takes command of [[The Fleet (RDM)\|the Fleet]] away from Adama?" Which would happen. And suddenly I realized '''that''' was a more interesting tale. It's one thing to run into the crazy man, or woman in this case. It's one thing to deal with that other commander who's a little out of control and you have doubts about, but it's another thing entirely when that crazy person comes and takes over your fleet. As I said earlier, there's a lot of things that did not make it into the one-hour version of [[Pegasus (episode)\|"Pegasus"]]. There's a whole leadup to this scene with Adama and [[Laura Roslin\|Laura]] and [[Saul Tigh\|Tigh]] walking through the hallway, and that's where they talk about who Admiral Cain is. They talk about the fact that Cain was a very young Admiral, had been promoted over several people on the Commander's list. Was sort of an up and comer, and a bit of a tough one in that she had taken command of [[Battlestar Group]] 75 only recently before the attack.		We started with the premise of [[Helena Cain\|Cain]] showing up and being a hardass. I like that. I like the kernel of that. That another [[Mercury class battlestar\|battlestar]] comes on the scene and their commander is a tougher one than ours is, and is a bit of a crazy person. On top of that, what I thought was even more interesting was then to say, "Well what if that commander shows up and they outrank [[William Adama\|Adama]]? What if that commander shows up and takes command of [[The Fleet (RDM)\|the Fleet]] away from Adama?" Which would happen. And suddenly I realized '''that''' was a more interesting tale. It's one thing to run into the crazy man, or woman in this case. It's one thing to deal with that other commander who's a little out of control and you have doubts about, but it's another thing entirely when that crazy person comes and takes over your fleet. As I said earlier, there's a lot of things that did not make it into the one-hour version of [[Pegasus (episode)\|"Pegasus"]]. There's a whole leadup to this scene with Adama and [[Laura Roslin\|Laura]] and [[Saul Tigh\|Tigh]] walking through the hallway, and that's where they talk about who Admiral Cain is. They talk about the fact that Cain was a very young Admiral, had been promoted over several people on the Commander's list. Was sort of an up and comer, and a bit of a tough one in that she had taken command of [[Battlestar Group]] 75 only recently before the attack.

	[[Michael Rymer]] shot this episode. Michael Rymer had directed, of course, [[~~miniseries~~\|the pilot]], and [[33]], and [[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]], and the opening two-parter of this season. And this is the next two-parter that Michael shot for us. And there is something about Michael's footage. There is something about the way he shoots the show, the performances he elicits from the characters, where he puts the camera, the lighting schemes that he comes up with in conjunction with our dp [[Stephen McNutt\|Steve McNutt]], that in many ways makes it unique and distinctive. When I see the dailies on the show, I've said a few times I can always tell [[:Category:Episodes directed by Michael Rymer\|Mike Rymer's]]. It's like Michael just has a particular voice for this show, and it shines through on an episode like this, which I just think is a great, great, episode.		[[Michael Rymer]] shot this episode. Michael Rymer had directed, of course, [[Miniseries\|the pilot]], and "[[33]]", and "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]", and the opening two-parter of this season. And this is the next two-parter that Michael shot for us. And there is something about Michael's footage. There is something about the way he shoots the show, the performances he elicits from the characters, where he puts the camera, the lighting schemes that he comes up with in conjunction with our dp [[Stephen McNutt\|Steve McNutt]], that in many ways makes it unique and distinctive. When I see the dailies on the show, I've said a few times I can always tell [[:Category:Episodes directed by Michael Rymer\|Mike Rymer's]]. It's like Michael just has a particular voice for this show, and it shines through on an episode like this, which I just think is a great, great, episode.

	We had varying storylines and drafts dealing with the interaction between Laura and Cain. In one of the drafts Cain in this moment did not even address Laura as president, just said, "It's a pleasure." I kept playing a card where Cain never quite acknowledged Laura as the president and there was a scene that we wrote at one point where Cain went over to talk to Laura because there was also a subplot of ships in the fleet holding back supplies, not delivering [[Tylium\|fuel]], etc, because they weren't getting spare parts, they weren't getting help when [[Pegasus (RDM)\|''Pegasus'']] is helping [[Galactica (RDM)\|''Galactica'']] after they arrive and the civilian fleet is getting fed up. And they go on strike. There's like a strike. They're not going to deliver fuel supplies to ''Pegasus'' until they get some of their needs met. And Cain got very upset and goes to confront Laura, and in that scene Laura's like "Hey, well what do you want? You're not helping these guys out." And Cain makes it very clear to Laura in that moment that she doesn't accept her as the president and this is a military operation and she'll take what she needs from these people if need be. As this script went through the development process that just became one of the subplots that went away, thank god, because we have enough subplots as it were with the footage that we did shoot.		We had varying storylines and drafts dealing with the interaction between Laura and Cain. In one of the drafts Cain in this moment did not even address Laura as president, just said, "It's a pleasure." I kept playing a card where Cain never quite acknowledged Laura as the president and there was a scene that we wrote at one point where Cain went over to talk to Laura because there was also a subplot of ships in the fleet holding back supplies, not delivering [[Tylium\|fuel]], etc, because they weren't getting spare parts, they weren't getting help when [[Pegasus (RDM)\|''Pegasus'']] is helping [[Galactica (RDM)\|''Galactica'']] after they arrive and the civilian fleet is getting fed up. And they go on strike. There's like a strike. They're not going to deliver fuel supplies to ''Pegasus'' until they get some of their needs met. And Cain got very upset and goes to confront Laura, and in that scene Laura's like "Hey, well what do you want? You're not helping these guys out." And Cain makes it very clear to Laura in that moment that she doesn't accept her as the president and this is a military operation and she'll take what she needs from these people if need be. As this script went through the development process that just became one of the subplots that went away, thank god, because we have enough subplots as it were with the footage that we did shoot.

Serenity: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser] */

2007-08-01T23:14:30Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser]

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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_1of5.mp3 Teaser]==

	Hello, and welcome to the podcast for episode ten, "[[Pegasus (episode)\|Pegasus]]", of season two. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|~~the~~ new "Battlestar Galactica"]] and I'd like to welcome you to the podcast. This one's a lot of fun for me, this is a episode that I've been thinking about for a long time, literally since I agreed to do the project. There's a couple of things you should know going into this: this is the one hour version of "Pegasus". We struggled ''mightily'' to get this show to time, and when the footage was complete, I believe the Director's Cut was a good 15 minutes over. Which is a bit of a problem, because that's more than an ''act's'' worth of material, and as we tried varying ways to get this down to the hour running length, I kept feeling like the best version of the show was the longer version. So we actually explored for a while the possibility of showing a 90 minute version of "Pegasus", and there was various discussions with the network back and forth. Ultimately, one of the problems was, we had an episode that was too long for an hour, and too short for 90 minutes. We could never quite plump it out to the point where it could be a 90 minute show, and it was always very difficult to pare it down to an hour show. So we finally got it down to an hour, rather than pad it out and just make it slow to get to 90 minutes, we compromised and decided to go with the fastest barn-burner of an episode that we could, in the one hour.		Hello, and welcome to the podcast for episode ten, "[[Pegasus (episode)\|Pegasus]]", of season two. I'm [[Ronald D. Moore]], executive producer and developer of the [[Battlestar Galactica (RDM)\|new ''Battlestar Galactica'']] and I'd like to welcome you to the podcast. This one's a lot of fun for me, this is a episode that I've been thinking about for a long time, literally since I agreed to do the project. There's a couple of things you should know going into this: this is the one hour version of "Pegasus". We struggled ''mightily'' to get this show to time, and when the footage was complete, I believe the Director's Cut was a good 15 minutes over. Which is a bit of a problem, because that's more than an ''act's'' worth of material, and as we tried varying ways to get this down to the hour running length, I kept feeling like the best version of the show was the longer version. So we actually explored for a while the possibility of showing a 90 minute version of "Pegasus", and there was various discussions with the network back and forth. Ultimately, one of the problems was, we had an episode that was too long for an hour, and too short for 90 minutes. We could never quite plump it out to the point where it could be a 90 minute show, and it was always very difficult to pare it down to an hour show. So we finally got it down to an hour, rather than pad it out and just make it slow to get to 90 minutes, we compromised and decided to go with the fastest barn-burner of an episode that we could, in the one hour.

	And, uh, fortunately, Universal Home Video has agreed to show the larger, the longer version of "Pegasus" in the season 2 DVD set so there's something for all of you to look forward to. So there will be periodic references to that throughout the show, but I'll try not to dwell on too much on that.		And, uh, fortunately, Universal Home Video has agreed to show the larger, the longer version of "Pegasus" in the season 2 DVD set so there's something for all of you to look forward to. So there will be periodic references to that throughout the show, but I'll try not to dwell on too much on that.

	This episode obviously has its genesis in the roots of the show itself, which is the Original 1978 Series. They did an episode in the original Galactica called "Living Legend, Parts I and II", which featured the return of the ~~Battlestar~~ Pegasus. Er, not the return, but meeting the ~~Battlestar~~ ''[[Pegasus (TOS)\|Pegasus]]'', and its commander— uh, Commander [[Cain (TOS)\|Cain]] who was played by [[Lloyd Bridges]]. It also introduced the character of [[Sheba]], who was Cain's daughter on ''Pegasus''. And at the end of that, of the original series' two-parter, ''Pegasus'' and Cain kind of vanish and it's not clear whether they're alive or dead, but Sheba, the commander's daughter, stays aboard and essentially becomes a somewhat romantic interest of [[Apollo (TOS)\|Apollo]]. Sheba was a character that is not present in this version of the show. I felt that Sheba ultimately was too cute of a character concept; that you'd run into ''another'' ~~Battlestar~~ and that commander ''also'' would have a child as the commander of his ~~airgroup~~, or in this case her ~~airgroup~~. I just felt it was one step too far, it pushed the reality of the show across the line, where essentially then the show is winking at the audience and sort of going "Yeah, they did it so we're going to do it too; it's kind of cute isn't it? That, you know, ''two'' commanders and ''two'' kids and the kids are gettin' into it!" You know that, I— I just couldn't go there. It worked for the Original Series, I will give the Original Series that, that it— within the context of their show and within the sort of parameters of how they chose to tell stories and their characters it worked perfectly fine. It just didn't feel like it was going to work very well in our episode.		This episode obviously has its genesis in the roots of the show itself, which is the Original 1978 Series. They did an episode in the original Galactica called "Living Legend, Parts I and II", which featured the return of the battlestar ''Pegasus''. Er, not the return, but meeting the battlestar ''[[Pegasus (TOS)\|Pegasus]]'', and its commander— uh, Commander [[Cain (TOS)\|Cain]] who was played by [[Lloyd Bridges]]. It also introduced the character of [[Sheba]], who was Cain's daughter on ''Pegasus''. And at the end of that, of the original series' two-parter, ''Pegasus'' and Cain kind of vanish and it's not clear whether they're alive or dead, but Sheba, the commander's daughter, stays aboard and essentially becomes a somewhat romantic interest of [[Apollo (TOS)\|Apollo]]. Sheba was a character that is not present in this version of the show. I felt that Sheba ultimately was too cute of a character concept; that you'd run into ''another'' battlestar and that commander ''also'' would have a child as the commander of his air group, or in this case her air group. I just felt it was one step too far, it pushed the reality of the show across the line, where essentially then the show is winking at the audience and sort of going "Yeah, they did it so we're going to do it too; it's kind of cute isn't it? That, you know, ''two'' commanders and ''two'' kids and the kids are gettin' into it!" You know that, I— I just couldn't go there. It worked for the Original Series, I will give the Original Series that, that it— within the context of their show and within the sort of parameters of how they chose to tell stories and their characters it worked perfectly fine. It just didn't feel like it was going to work very well in our episode.

	The choice of [[~~IMDB:nm0000405\|~~Michelle Forbes]] to play Admiral [[Helena Cain\|Cain]] was the subject of much discussion. We went through a lot of actresses' names. We went through a lot of sort of testing, internally about who we would use and what the possibilities for her. I had worked with Michelle Forbes on "[[~~IMDB~~:~~tt0092455~~\|Star Trek: The Next Generation]]", where she played Ensign [[MemoryAlpha:Ro Laren\|Ro]], and other people knew her from her film work. And there was something really interesting about going with a— not an older woman, but a slightly younger woman. That she would personify this character. It seemed like an interesting challenge, as opposed to going to someone older, you know, and more experienced, in some ways, there was something that I really liked about bringing in the younger admiral, the sort of fast-tracked admiral, who then comes in and takes command of ''[[Galactica (RDM)\|Galactica]]'', and the entire [[The Fleet (RDM)\|Rag Tag Fleet]].		The choice of [[Michelle Forbes]] to play Admiral [[Helena Cain\|Cain]] was the subject of much discussion. We went through a lot of actresses' names. We went through a lot of sort of testing, internally about who we would use and what the possibilities for her. I had worked with Michelle Forbes on "[[memoryalpha:Star Trek: The Next Generation\|Star Trek: The Next Generation]]", where she played Ensign [[MemoryAlpha:Ro Laren\|Ro]], and other people knew her from her film work. And there was something really interesting about going with a— not an older woman, but a slightly younger woman. That she would personify this character. It seemed like an interesting challenge, as opposed to going to someone older, you know, and more experienced, in some ways, there was something that I really liked about bringing in the younger admiral, the sort of fast-tracked admiral, who then comes in and takes command of ''[[Galactica (RDM)\|Galactica]]'', and the entire [[The Fleet (RDM)\|Rag Tag Fleet]].

	I should say that in the original, in "[[The Living Legend, Part I]] and [[The Living Legend, Part I\|II]]", Commander Cain did ''not'' outrank [[Adama (TOS)\|Adama]]. That story was similar only insofar as there was, there is a ~~"Battlestar~~ Pegasus", they do meet up with it unexpectedly, and that there's an admiral Cain who's a bit of— more of a hardass character than Commander Adama. There story was very different; it had to do with Cain's obsession with attacking a particular Cylon outpost or base, as I recall, and his determination to attack that Cylon base despite Adama's misgivings and Cain even manipulates the tactical situation at one point; he's out flying Vipers, ''himself'', for some reason, and you know is destroying ships in order to force Adama to attack the Cylon base, which Cain has been advocating all along. We didn't use any of that for the show. We just sort of started with the premise of Cain showing up. I'll be back.		I should say that in the original, in "[[The Living Legend, Part I]] and [[The Living Legend, Part I\|II]]", Commander Cain did ''not'' outrank [[Adama (TOS)\|Adama]]. That story was similar only insofar as there was, there is a battlestar Pegasus, they do meet up with it unexpectedly, and that there's an admiral Cain who's a bit of— more of a hardass character than Commander Adama. There story was very different; it had to do with Cain's obsession with attacking a particular Cylon outpost or base, as I recall, and his determination to attack that Cylon base despite Adama's misgivings and Cain even manipulates the tactical situation at one point; he's out flying Vipers, ''himself'', for some reason, and you know is destroying ships in order to force Adama to attack the Cylon base, which Cain has been advocating all along. We didn't use any of that for the show. We just sort of started with the premise of Cain showing up. I'll be back.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_2of5.mp3 Act 1]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/210/bsg_ep210_2of5.mp3 Act 1]==

Catrope: linking to own BW: article

2007-08-01T21:50:00Z

linking to own BW: article

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	(sound of a zippo lighter)		(sound of a zippo lighter)

	This dinner sequence- that's my (exhales smoke) third cigarette of the night, and yes they are just cigarettes for those of you [[~~frakr:~~Podcast smokes and drinks\|keeping score]] at home. This, not dinner sequence, sorry. This drinking scene with these three principles actually is much longer and tried to answer all the basic questions about ''Pegasus'' and we do here what- how they escaped the [[Fall of the Twelve Colonies\|initial Cylon attack]] here by [[blind jump]] to just jump away to nowhere. The next question that was asked in the dinner party scene was "How'd you avoid the [[Cylons (RDM)\|Cylons]] [[Command Navigation Program\|infecting your computer systems]], taking them over, shutting you down like they did all the other ships in the miniseries?" And the answer was that as ''Pegasus'' was going in for the overhaul, most, if not all of her computers were offline and the network had been shut down. And essentially that combined with being lucky enough to avoid the first strike and Cain's initial order to just jump somewhere safe. And then they came to realize later on that the Cylons were able to infiltrate the computer networks. How they came to understand that is something we never got into, but I think you could fill in various backstories of how they eventually figure that out on their own.		This dinner sequence- that's my (exhales smoke) third cigarette of the night, and yes they are just cigarettes for those of you [[Podcast smokes and drinks\|keeping score]] at home. This, not dinner sequence, sorry. This drinking scene with these three principles actually is much longer and tried to answer all the basic questions about ''Pegasus'' and we do here what- how they escaped the [[Fall of the Twelve Colonies\|initial Cylon attack]] here by [[blind jump]] to just jump away to nowhere. The next question that was asked in the dinner party scene was "How'd you avoid the [[Cylons (RDM)\|Cylons]] [[Command Navigation Program\|infecting your computer systems]], taking them over, shutting you down like they did all the other ships in the miniseries?" And the answer was that as ''Pegasus'' was going in for the overhaul, most, if not all of her computers were offline and the network had been shut down. And essentially that combined with being lucky enough to avoid the first strike and Cain's initial order to just jump somewhere safe. And then they came to realize later on that the Cylons were able to infiltrate the computer networks. How they came to understand that is something we never got into, but I think you could fill in various backstories of how they eventually figure that out on their own.

	I like this scene a lot because this is the "Who is Cain?" scene and "What has she gone through?" and I thought it was really important to understand that she is the way she is for reasons. That yeah, she was always a hard-charger on her own, and that she was probably hell-on-wheels to deal with, and to be under her command, under the best of circumstances, but that they had gone through something as difficult and challenging and horrific as what ''Galactica'' had gone through. And that she's not the way she is just because she's a bad person.		I like this scene a lot because this is the "Who is Cain?" scene and "What has she gone through?" and I thought it was really important to understand that she is the way she is for reasons. That yeah, she was always a hard-charger on her own, and that she was probably hell-on-wheels to deal with, and to be under her command, under the best of circumstances, but that they had gone through something as difficult and challenging and horrific as what ''Galactica'' had gone through. And that she's not the way she is just because she's a bad person.

← Older revision		Revision as of 21:32, 15 June 2025
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	This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. {{podcastref\|GINO}}And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.		This character does have a name, by the way. While we always call Six, Number Six is how she's referred to in the scripts. This character is called [[Gina]]. {{podcastref\|GINO}}And Gina comes out of the fact that there are certain- (laughs) I love this- there are certain people out there in the fan- in the fan community, and I know who you are, that refer to the show as "GINO." "Galactica in Name Only." And there was something so funny about that, and I always got a kick out of people who refer to the show as GINO. (Laughs) They couldn't even bring themselves to just call it Galactica, they had to really make up this other name, that it was GINO. And I just decided that, "Let's call the tortured Six Gina." (chuckles) But it's never actually spoken in the show.

	This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies ~~(RDM)~~#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)		This is a really interesting tale, though. I mean I'm really fascinated with the idea of Baltar coming to look at the Cylons in a very different way, to look at this particular Cylon in a very different way. That here's a real woman. Here's a flesh and blood woman. A re-creation, as it were, of the woman that he knew on [[The Twelve Colonies of Kobol#Caprica\|Caprica]]. Well, not really a re-creation, but another version. And that he would have an enormous amount of sympathy for the other, for this version of Six. That this one had gone through an experience that made him want to reach out to her, which is something that he had never wanted to do. He had always been the character who had held his emotions back, who never connected with a woman, who never gave himself to love and to care and that right from the beginning their relationship had been he was a player and she was just another conquest that then turned the tables on him he, as much as she had wanted him to love her, he never could or would. And there was something amazing about flipping that upside down and having him actually reach out emotionally, but only to the one that had been tortured and raped. And there was something- there was something twisted about that, and there's something true about that, and those are always the best thing when they're twisted- twisted and true. (Zippo lighter.)

	This scene was also much longer. There was a bit of discussion here about the G- ''Pegasus'' being a [[Mercury class battlestar]]. There was a brief discussion of the differences between the two and an interesting little side discussion about the fact that there's no chairs in the room. Cain mentions that she can't offer them a place to sit because she'd always found it easier to work standing up, it was easier on her back, and she discovered that if she had no chairs in the room meetings with her senior officers went much faster. And I got that from, of all people, [[Wikipedia:John R. Bolton\|John Bolton]], who is the current American ambassador to the United Nations... a topic that we will not get into. But there was some piece that talked about Bolton's style, or lack of style, with his staff and he mentions at some point that he made his staff come into his office and hold all the meetings standing up because he wanted to get through the meetings rather quickly and he found that if he made his staff stand during the entire meeting that they got through it much faster. And I thought, "That's such a- That is just says SO much about that man." And I thought it was a really interesting telling bit of character, so I used it here that Cain was that kind of person. Cain was the kind of person that would make her staff stand just to get them in there- out of there as fast as she could.		This scene was also much longer. There was a bit of discussion here about the G- ''Pegasus'' being a [[Mercury class battlestar]]. There was a brief discussion of the differences between the two and an interesting little side discussion about the fact that there's no chairs in the room. Cain mentions that she can't offer them a place to sit because she'd always found it easier to work standing up, it was easier on her back, and she discovered that if she had no chairs in the room meetings with her senior officers went much faster. And I got that from, of all people, [[Wikipedia:John R. Bolton\|John Bolton]], who is the current American ambassador to the United Nations... a topic that we will not get into. But there was some piece that talked about Bolton's style, or lack of style, with his staff and he mentions at some point that he made his staff come into his office and hold all the meetings standing up because he wanted to get through the meetings rather quickly and he found that if he made his staff stand during the entire meeting that they got through it much faster. And I thought, "That's such a- That is just says SO much about that man." And I thought it was a really interesting telling bit of character, so I used it here that Cain was that kind of person. Cain was the kind of person that would make her staff stand just to get them in there- out of there as fast as she could.
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	This act four was just a barrel- just a barrel of laughs to write, (chuckles) and I mean that in all seriousness. I loved working on this end sequence with [[Anne Cofell Saunders\|Anne]], of making this really just start to pick up momentum and events start spiraling out of control. And this leads to the moment of [[William Adama\|Adama]]- Adama launches the [[Viper (RDM)\|Vipers]] and says, "I'm gettin' my men back." And there's something really interesting about the fact that the man who's been obeying the rules and doing the right thing, admitting his mistakes... there comes a point where, right or wrong, he's not going to let [[Helena Cain\|her]] execute his men without a trial. He's just not going to do that. There are places that Adama will not go. And I love that in this moment she nails him on the tribunal thing, that last year during "[[Litmus]]" he dissolved a tribunal when he didn't like the answer. And he- it hits him. It registers on the character in that moment. He knows that that too is true. And the fact that it's true doesn't mean that he doesn't feel the way that he feels in this- in this scene. And when he finds out a moment later that they had been sentenced to death, it felt right that Adama, the man who [[You Can't Go Home Again\|risked so many lives]] when [[Kara Thrace]] was lost down on that planet, that we would, again, do anything it took to save the men that were under his command. His bond with them had- was that strong. And you could argue- you could very logically argue that that's a profound mistake on his part, that that's a command flaw. But, people have flaws. And that's one of his blind spots. It's one of the places where Adama is not the ideal commander, if you want to look at it that way. In many other ways he is [[Humanoid Cylon speculation#William Adama?\|the most human commander of them all]], he's the most... he's very human.		This act four was just a barrel- just a barrel of laughs to write, (chuckles) and I mean that in all seriousness. I loved working on this end sequence with [[Anne Cofell Saunders\|Anne]], of making this really just start to pick up momentum and events start spiraling out of control. And this leads to the moment of [[William Adama\|Adama]]- Adama launches the [[Viper (RDM)\|Vipers]] and says, "I'm gettin' my men back." And there's something really interesting about the fact that the man who's been obeying the rules and doing the right thing, admitting his mistakes... there comes a point where, right or wrong, he's not going to let [[Helena Cain\|her]] execute his men without a trial. He's just not going to do that. There are places that Adama will not go. And I love that in this moment she nails him on the tribunal thing, that last year during "[[Litmus]]" he dissolved a tribunal when he didn't like the answer. And he- it hits him. It registers on the character in that moment. He knows that that too is true. And the fact that it's true doesn't mean that he doesn't feel the way that he feels in this- in this scene. And when he finds out a moment later that they had been sentenced to death, it felt right that Adama, the man who [[You Can't Go Home Again\|risked so many lives]] when [[Kara Thrace]] was lost down on that planet, that we would, again, do anything it took to save the men that were under his command. His bond with them had- was that strong. And you could argue- you could very logically argue that that's a profound mistake on his part, that that's a command flaw. But, people have flaws. And that's one of his blind spots. It's one of the places where Adama is not the ideal commander, if you want to look at it that way. In many other ways he is [[Humanoid Cylon speculation#William Adama?\|the most human commander of them all]], he's the most... he's very human.

	This beat with [[Gaius Baltar\|Baltar]] and [[Gina]]... was something that I wrote in one sitting. There were a couple of earlier versions of the scene and none of them were quite working and I liked the idea that Baltar sitting and really... exposing himself emotionally and talking really in very frank terms about the experience he has had with [[Number Six\|Six]] and with [[Caprica-Six\|Six on Caprica]] and what she means to him in a very real and profound way. And he would do it in this context, in that it was just a monologue. And I felt really comfortable just writing a monologue for [[James Callis\|James]] because I knew that James would embrace it and would really sink his teeth into it and really make it sing. And he really does. He completely draws me into this- this scene. I'm really there with him throughout this whole little piece here. And it's interesting, 'cause this is the man that participated in the [[Fall of the Twelve Colonies\|genocide]], inadvertently, but essentially is one of the people who is responsible for the entire situation. And yet in this moment, he's human, and you connect to him as a human being and he's having a connection to the personification of evil in the show, the personification of all the [[The Twelve Colonies ~~(RDM)~~\|Colonials]] think is evil. A [[Cylons (RDM)\|Cylon]]. A Cylon who let people die on this very ship. It is said that Gina let people get on board [[Galactica (RDM)\|''Galactica'']]. She was- she was a participant. She wasn't just an innocent bystander. She was somebody who helped kill men and women aboard [[Pegasus (RDM)\|''Pegasus'']], and that's part of the reason why she's in that brig. But here, in this situation, in this context, your feelings are drawn into the place where the two characters are, and you're really hooked into them as people, feeling what they're feeling, even understanding the things that each of them has done. And the- the really bad choices, again, and horrific choices that each of them has made.		This beat with [[Gaius Baltar\|Baltar]] and [[Gina]]... was something that I wrote in one sitting. There were a couple of earlier versions of the scene and none of them were quite working and I liked the idea that Baltar sitting and really... exposing himself emotionally and talking really in very frank terms about the experience he has had with [[Number Six\|Six]] and with [[Caprica-Six\|Six on Caprica]] and what she means to him in a very real and profound way. And he would do it in this context, in that it was just a monologue. And I felt really comfortable just writing a monologue for [[James Callis\|James]] because I knew that James would embrace it and would really sink his teeth into it and really make it sing. And he really does. He completely draws me into this- this scene. I'm really there with him throughout this whole little piece here. And it's interesting, 'cause this is the man that participated in the [[Fall of the Twelve Colonies\|genocide]], inadvertently, but essentially is one of the people who is responsible for the entire situation. And yet in this moment, he's human, and you connect to him as a human being and he's having a connection to the personification of evil in the show, the personification of all the [[The Twelve Colonies of Kobol\|Colonials]] think is evil. A [[Cylons (RDM)\|Cylon]]. A Cylon who let people die on this very ship. It is said that Gina let people get on board [[Galactica (RDM)\|''Galactica'']]. She was- she was a participant. She wasn't just an innocent bystander. She was somebody who helped kill men and women aboard [[Pegasus (RDM)\|''Pegasus'']], and that's part of the reason why she's in that brig. But here, in this situation, in this context, your feelings are drawn into the place where the two characters are, and you're really hooked into them as people, feeling what they're feeling, even understanding the things that each of them has done. And the- the really bad choices, again, and horrific choices that each of them has made.

	It's such a disturbing image seeing [[Tricia Helfer\|Trish]] lying there like that. The look on her face, and this- this- again, just a nice little piece of- that, the arm coming over... the way she reaches out for just the- a little bit of food. It just- it's such a small thing that speaks volumes about where the character is in that moment. And it doesn't require any dialogue. It's a completely visual- visual moment. (Sound of Zippo lighter.) And he knows he's gotten through to her on some level.		It's such a disturbing image seeing [[Tricia Helfer\|Trish]] lying there like that. The look on her face, and this- this- again, just a nice little piece of- that, the arm coming over... the way she reaches out for just the- a little bit of food. It just- it's such a small thing that speaks volumes about where the character is in that moment. And it doesn't require any dialogue. It's a completely visual- visual moment. (Sound of Zippo lighter.) And he knows he's gotten through to her on some level.

← Older revision		Revision as of 23:16, 1 August 2007
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	I really like [[Edward James Olmos\|Eddie]] in this scene. This is a classic Eddie moment where he just barks at his officers and they just shut the fuck up. (laughs) And you would. If Edward James Olmos looked at you with that look on his face and told you that was enough you would snap to as well. Trust me. (laughs)		I really like [[Edward James Olmos\|Eddie]] in this scene. This is a classic Eddie moment where he just barks at his officers and they just shut the fuck up. (laughs) And you would. If Edward James Olmos looked at you with that look on his face and told you that was enough you would snap to as well. Trust me. (laughs)

	I kinda like the fact that he's supporting [[Helena Cain\|Cain]] in this. That he's not making excuses for her, and he's not apologizing for what's happening. He's saying, "You know what? She's right." And she is- like I said a moment ago she is right. And it was important to me that his character acknowledged the truth of that statement and say, "Ok. You know what? I am back in ~~[[Colonial Fleet (RDM)\|Colonial Fleet\|~~the fleet]]. She's an [[Military Ranks (RDM)\|admiral]]. She's right. We are transferring these people. Period. End of story." To me that buys him a lot of leeway within the tale.		I kinda like the fact that he's supporting [[Helena Cain\|Cain]] in this. That he's not making excuses for her, and he's not apologizing for what's happening. He's saying, "You know what? She's right." And she is- like I said a moment ago she is right. And it was important to me that his character acknowledged the truth of that statement and say, "Ok. You know what? I am back in the fleet. She's an [[Military Ranks (RDM)\|admiral]]. She's right. We are transferring these people. Period. End of story." To me that buys him a lot of leeway within the tale.

	This whole thing with the photo recon mission against the [[Cylons (RDM)\|Cylons]], we had versions where Star- you followed all of them out there to go do the photo recon mission and saw [[Kara Thrace\|Kara]] do her thing and played all that on camera and then we cu- we actually cut it before it was even filmed. It was sort of an unnecessary side trip that was going to cost us a lot of money in visual effects in a show that was already way over-pattern in many departments, and so we couldn't really afford to do that, it chewed up a lot of screen time, and it was really beside the point. It wasn't really about watching them carry out a photo mission. I mean, it's not a battle. I mean, you would play the suspense of it, and that, and the tension of it. But the joy of this episode, and the joy of the great episodes is with the people, with being inside the ship and really dealing with the problems they've all been handed.		This whole thing with the photo recon mission against the [[Cylons (RDM)\|Cylons]], we had versions where Star- you followed all of them out there to go do the photo recon mission and saw [[Kara Thrace\|Kara]] do her thing and played all that on camera and then we cu- we actually cut it before it was even filmed. It was sort of an unnecessary side trip that was going to cost us a lot of money in visual effects in a show that was already way over-pattern in many departments, and so we couldn't really afford to do that, it chewed up a lot of screen time, and it was really beside the point. It wasn't really about watching them carry out a photo mission. I mean, it's not a battle. I mean, you would play the suspense of it, and that, and the tension of it. But the joy of this episode, and the joy of the great episodes is with the people, with being inside the ship and really dealing with the problems they've all been handed.

← Older revision		Revision as of 23:15, 1 August 2007
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	We started with the premise of [[Helena Cain\|Cain]] showing up and being a hardass. I like that. I like the kernel of that. That another [[Mercury class battlestar\|battlestar]] comes on the scene and their commander is a tougher one than ours is, and is a bit of a crazy person. On top of that, what I thought was even more interesting was then to say, "Well what if that commander shows up and they outrank [[William Adama\|Adama]]? What if that commander shows up and takes command of [[The Fleet (RDM)\|the Fleet]] away from Adama?" Which would happen. And suddenly I realized '''that''' was a more interesting tale. It's one thing to run into the crazy man, or woman in this case. It's one thing to deal with that other commander who's a little out of control and you have doubts about, but it's another thing entirely when that crazy person comes and takes over your fleet. As I said earlier, there's a lot of things that did not make it into the one-hour version of [[Pegasus (episode)\|"Pegasus"]]. There's a whole leadup to this scene with Adama and [[Laura Roslin\|Laura]] and [[Saul Tigh\|Tigh]] walking through the hallway, and that's where they talk about who Admiral Cain is. They talk about the fact that Cain was a very young Admiral, had been promoted over several people on the Commander's list. Was sort of an up and comer, and a bit of a tough one in that she had taken command of [[Battlestar Group]] 75 only recently before the attack.		We started with the premise of [[Helena Cain\|Cain]] showing up and being a hardass. I like that. I like the kernel of that. That another [[Mercury class battlestar\|battlestar]] comes on the scene and their commander is a tougher one than ours is, and is a bit of a crazy person. On top of that, what I thought was even more interesting was then to say, "Well what if that commander shows up and they outrank [[William Adama\|Adama]]? What if that commander shows up and takes command of [[The Fleet (RDM)\|the Fleet]] away from Adama?" Which would happen. And suddenly I realized '''that''' was a more interesting tale. It's one thing to run into the crazy man, or woman in this case. It's one thing to deal with that other commander who's a little out of control and you have doubts about, but it's another thing entirely when that crazy person comes and takes over your fleet. As I said earlier, there's a lot of things that did not make it into the one-hour version of [[Pegasus (episode)\|"Pegasus"]]. There's a whole leadup to this scene with Adama and [[Laura Roslin\|Laura]] and [[Saul Tigh\|Tigh]] walking through the hallway, and that's where they talk about who Admiral Cain is. They talk about the fact that Cain was a very young Admiral, had been promoted over several people on the Commander's list. Was sort of an up and comer, and a bit of a tough one in that she had taken command of [[Battlestar Group]] 75 only recently before the attack.

	[[Michael Rymer]] shot this episode. Michael Rymer had directed, of course, [[~~miniseries~~\|the pilot]], and [[33]], and [[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]], and the opening two-parter of this season. And this is the next two-parter that Michael shot for us. And there is something about Michael's footage. There is something about the way he shoots the show, the performances he elicits from the characters, where he puts the camera, the lighting schemes that he comes up with in conjunction with our dp [[Stephen McNutt\|Steve McNutt]], that in many ways makes it unique and distinctive. When I see the dailies on the show, I've said a few times I can always tell [[:Category:Episodes directed by Michael Rymer\|Mike Rymer's]]. It's like Michael just has a particular voice for this show, and it shines through on an episode like this, which I just think is a great, great, episode.		[[Michael Rymer]] shot this episode. Michael Rymer had directed, of course, [[Miniseries\|the pilot]], and "[[33]]", and "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]", and the opening two-parter of this season. And this is the next two-parter that Michael shot for us. And there is something about Michael's footage. There is something about the way he shoots the show, the performances he elicits from the characters, where he puts the camera, the lighting schemes that he comes up with in conjunction with our dp [[Stephen McNutt\|Steve McNutt]], that in many ways makes it unique and distinctive. When I see the dailies on the show, I've said a few times I can always tell [[:Category:Episodes directed by Michael Rymer\|Mike Rymer's]]. It's like Michael just has a particular voice for this show, and it shines through on an episode like this, which I just think is a great, great, episode.

	We had varying storylines and drafts dealing with the interaction between Laura and Cain. In one of the drafts Cain in this moment did not even address Laura as president, just said, "It's a pleasure." I kept playing a card where Cain never quite acknowledged Laura as the president and there was a scene that we wrote at one point where Cain went over to talk to Laura because there was also a subplot of ships in the fleet holding back supplies, not delivering [[Tylium\|fuel]], etc, because they weren't getting spare parts, they weren't getting help when [[Pegasus (RDM)\|''Pegasus'']] is helping [[Galactica (RDM)\|''Galactica'']] after they arrive and the civilian fleet is getting fed up. And they go on strike. There's like a strike. They're not going to deliver fuel supplies to ''Pegasus'' until they get some of their needs met. And Cain got very upset and goes to confront Laura, and in that scene Laura's like "Hey, well what do you want? You're not helping these guys out." And Cain makes it very clear to Laura in that moment that she doesn't accept her as the president and this is a military operation and she'll take what she needs from these people if need be. As this script went through the development process that just became one of the subplots that went away, thank god, because we have enough subplots as it were with the footage that we did shoot.		We had varying storylines and drafts dealing with the interaction between Laura and Cain. In one of the drafts Cain in this moment did not even address Laura as president, just said, "It's a pleasure." I kept playing a card where Cain never quite acknowledged Laura as the president and there was a scene that we wrote at one point where Cain went over to talk to Laura because there was also a subplot of ships in the fleet holding back supplies, not delivering [[Tylium\|fuel]], etc, because they weren't getting spare parts, they weren't getting help when [[Pegasus (RDM)\|''Pegasus'']] is helping [[Galactica (RDM)\|''Galactica'']] after they arrive and the civilian fleet is getting fed up. And they go on strike. There's like a strike. They're not going to deliver fuel supplies to ''Pegasus'' until they get some of their needs met. And Cain got very upset and goes to confront Laura, and in that scene Laura's like "Hey, well what do you want? You're not helping these guys out." And Cain makes it very clear to Laura in that moment that she doesn't accept her as the president and this is a military operation and she'll take what she needs from these people if need be. As this script went through the development process that just became one of the subplots that went away, thank god, because we have enough subplots as it were with the footage that we did shoot.