Podcast:Resurrection Ship, Part I - Revision history

68.151.237.189: /* Teaser */

2026-02-08T19:29:05Z

Teaser

← Older revision		Revision as of 19:29, 8 February 2026
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	</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.		</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.

	There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[[m-w:in toto\|in toto]]''.		There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[m-w:in toto\|in toto]]''.

	All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.		All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.

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

2020-04-11T01:58:46Z

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

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	\|transcribed by= [[User:~~Peter Farago~~\|~~Peter Farago~~]]<br/>[[User:Steelviper\|Steelviper]]		\|transcribed by= [[User:April Arcus\|April Arcus]]<br/>[[User:Steelviper\|Steelviper]]
	\|verified by= [[User:Joe Beaudoin Jr.\|Joe Beaudoin Jr.]]<br/>[[User:Steelviper\|Steelviper]]<br/>[[User:Laineylain\|Laineylain]]		\|verified by= [[User:Joe Beaudoin Jr.\|Joe Beaudoin Jr.]]<br/>[[User:Steelviper\|Steelviper]]<br/>[[User:Laineylain\|Laineylain]]
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Serenity: frak

2008-02-27T20:07:06Z

frak

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	</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.		</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.

	There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[[m.w:in toto\|in toto]]''.		There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[[m-w:in toto\|in toto]]''.

	All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.		All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.

Serenity: why not Latin?

2008-02-27T20:06:13Z

why not Latin?

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	</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.		</ref> pulse, there was going to be some bit of whole little techno-nonsense that was gonna make her simulate like a Cylon. It all became a lot of mumbo-jumbo, and it was always kind of hard to figure out what exactly she was doing, and it's just better that she simply shows up on DRADIS, and you just kind of get it, y'know? This is— a lot of times where you just over-think what you're trying to accomplish, and the audience kind of follows it regardless, they just kind of get it. It's like, "okay, Apollo sent her a message, she did something, and now they all think that she's a Cylon." You really don't have to get into to all the techno stuff about exactly how and why that sort of thing happened.

	There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[~~Wikipedia~~:~~List_of_Latin_phrases_%28F–O%29#I~~\|in toto]]''.		There was— now when this was one episode, when "Resurrection Ship" was one episode, it actually opened differently. It didn't open with us coming right back into the cliffhanger moment from "Pegasus". It opened with a completely different sequence that is actually now the beginning of [[Resurrection Ship, Part II\|Part II of "Resurrection Ship"]], which was namely a shot of Lee Adama, which I guess I can't give away, because hey, you haven't seen Part II yet. For those of you who are picking up the podcast on the internet, I guess I won't spoil it for you. But suffice it to say, when you to to "Resurrection Ship, Part II", the opening sequence of "Resurrection Ship, Part II", was once the opening of the sequence of "Resurrection Ship" ''[[[m.w:in toto\|in toto]]''.

	All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.		All this sort of live video interactive stuff had to be done very quickly on the fly, as you might imagine. Usually visual effects has time to go out and work up designs on these ships, and work up all the various sort of schematics, and you can play around with what exactly the ships are like and how they behave, and all that. This time we needed live, on-screen video. By and large we tend to avoid what are called burn-ins, where you are matting in a visual effects shot into somebody's screen on ''[[Galactica (RDM)\|Galactica]]''. It's just something that we tend to avoid to give all these sort of— it frees up the camera movement, it makes the— everything feel— have a little more sense of verisimilitude, it's just more ''real'', ultimately. So we do tend to avoid burn-ins. We've done them on occasion, and we tend to do them more often in the Viper cockpits where you don't notice, but when you're walking around CIC in situations like this, to do a burn-in is kind of distracting because the camera has to be locked down, and it kind of limits everything, it becomes another visual effects shot that you have to then count, and account for with your money, and blah blah blah, and it's all kind of a big pain in the ass. But anyway, that just means that the visual effects guys have to have these designs up and running quickly, so there's enough time for the graphic artists to come up with the exact monitor shots that we're using throughout. So we had to lock into the design of the Resurrection Ship very early.

Serenity: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser] */

2008-02-27T20:03:44Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser]

← Older revision		Revision as of 20:03, 27 February 2008
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser]==

	Hello, and welcome to the podcast for episode eleven, "[[Resurrection Ship, Part I]]". I'm [[Ronald D. Moore]], executive producer and developer of the new [[Battlestar Galactica (RDM)\|Battlestar Galactica]], and this would be the first podcast of [[season 2\|season 2.5]], or 2.1, or whatever we're calling it currently.		Hello, and welcome to the podcast for episode eleven, "[[Resurrection Ship, Part I]]". I'm [[Ronald D. Moore]], executive producer and developer of the new ''[[Battlestar Galactica (RDM)\|Battlestar Galactica]]'', and this would be the first podcast of [[season 2\|season 2.5]], or 2.1, or whatever we're calling it currently.

	"Resurrection Ship" is an interesting episode in that it did not begin life as a two-parter. I've often talked on these podcasts of our great difficulty in maintaining our time limitations on the show. We often found ourselves with episodes that are running ridiculously long, longer than anticipated. No matter what our best efforts at holding the line at the script stage and even on the stage, we often get into the cutting room and find episodes that are wildly over length. And this one in particularly was a good twenty minutes long. Twenty minutes is really long. It's a lot to cut out of a show. That's essentially like two full acts, if you think of an act as being roughly like ten minutes in length. And what happened this time around— we ran into a similar problem, some of you might recall, in "[[Pegasus (episode)\|Pegasus]]", the season fin— the finale of [[season 2\|season 2.0]] or whatever, that we did four months ago. And in that situation we were sort of able to carve out the bare essentials of the show, make something that was exciting and dynamic, and still preserve sort of the longer version of "Pegasus" for video release. This time out, we opted to go a different direction. We really felt that completely cutting— completely eviscerating the show by cutting twenty minutes out was wrong, and this time another option sort of opened up before us.		"Resurrection Ship" is an interesting episode in that it did not begin life as a two-parter. I've often talked on these podcasts of our great difficulty in maintaining our time limitations on the show. We often found ourselves with episodes that are running ridiculously long, longer than anticipated. No matter what our best efforts at holding the line at the script stage and even on the stage, we often get into the cutting room and find episodes that are wildly over length. And this one in particularly was a good twenty minutes long. Twenty minutes is really long. It's a lot to cut out of a show. That's essentially like two full acts, if you think of an act as being roughly like ten minutes in length. And what happened this time around— we ran into a similar problem, some of you might recall, in "[[Pegasus (episode)\|Pegasus]]", the season fin— the finale of [[season 2\|season 2.0]] or whatever, that we did four months ago. And in that situation we were sort of able to carve out the bare essentials of the show, make something that was exciting and dynamic, and still preserve sort of the longer version of "Pegasus" for video release. This time out, we opted to go a different direction. We really felt that completely cutting— completely eviscerating the show by cutting twenty minutes out was wrong, and this time another option sort of opened up before us.

Catrope: forgot the link

2008-02-27T20:02:55Z

forgot the link

← Older revision		Revision as of 20:02, 27 February 2008
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	\|season=2		\|season=2
	\|episode=11		\|episode=11
	\|download link=		\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_FULL.mp3
	\|local=		\|local=
	\|posted date=		\|posted date=

Catrope: {{podcast data}}

2008-02-27T19:58:39Z

← Older revision		Revision as of 19:58, 27 February 2008
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	{{~~podcast~~\|~~author~~=Peter Farago\|~~emailAuthor2~~= ~~and~~ [[~~Special~~:~~Emailuser~~/Steelviper\|Steelviper]]\|~~suffix~~=s\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=G}}		{{Podcast Data
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_1of5.mp3 Teaser]==

Catrope: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_4of5.mp3 Act 3] */ correcting

2007-04-25T10:30:27Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_4of5.mp3 Act 3]: correcting

← Older revision		Revision as of 10:30, 25 April 2007
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	And look at his face. His heart's breaking. The trust between the two of them. They do trust each other. They ''know'' each other, they know each other's weaknesses, they know each other's limitations, they know each other's integrity, and sense of honor.		And look at his face. His heart's breaking. The trust between the two of them. They do trust each other. They ''know'' each other, they know each other's weaknesses, they know each other's limitations, they know each other's integrity, and sense of honor.

	And now watch this, when [[Edward James Olmos\|~~Eddy~~]] goes away— look at that. He wipes away the tear. It's such a small— it's just intuitive actor— actor's instinct at work. And it's so honest, and you just so believe it. And it touches me every time I see it. And she sends him out.		And now watch this, when [[Edward James Olmos\|Eddie]] goes away— look at that. He wipes away the tear. It's such a small— it's just intuitive actor— actor's instinct at work. And it's so honest, and you just so believe it. And it touches me every time I see it. And she sends him out.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/211/bsg_ep211_5of5.mp3 Act 4]==

Mercifull: adding podcast list

2007-04-19T11:23:35Z

adding podcast list

← Older revision		Revision as of 11:23, 19 April 2007
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	==References==		==References==
	<div style="font-size:85%"><references/></div>		<div style="font-size:85%"><references/></div>

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T20:30:44Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 20:30, 13 April 2007
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	That particular shot of ''[[Colonial One]]'' with the [[Viper (RDM)\|Viper]] outside in escort is actually a reuse of the shot from the [[miniseries]] where [[Lee Adama\|Lee]] was escorting ''Colonial One''.		That particular shot of ''[[Colonial One]]'' with the [[Viper (RDM)\|Viper]] outside in escort is actually a reuse of the shot from the [[miniseries]] where [[Lee Adama\|Lee]] was escorting ''Colonial One''.

	This scene, I love. This is one of my favorite scenes of the season, this scene between Laura and Adama. And again, if we had had to really chop apart "Resurrection Ship" to get it down to a one hour episode, we would've had to—we— in fact I think we did lose this scene at one point, when we were messing around to see what an hour version would look like, and it just broke my heart, because this is a lovely, lovely scene. I love the performances here are just tremendous, and you really get a sense that these two people in this scene have walked such a road from where they began in the miniseries, where they really were at odds and could bare— and barely gave each other the time of day, to the point where Adama had relieved her of her presidency and instituted a military coup, and Laura had broken out and led a rebellion, and they had gone to [[Kobol]], and I mean they had just traveled such a journey, and then now, in the middle of this other crisis, Laura is dying. And Adama is there to give her a glass of water, and just be there with her. And you can just ''see''— y'know, the look on his face— y'know, the connection with her and it's just amazing. And y'know, there are times I just— I am so grateful for the cast. I know I've said that before in these podcasts, but this just gold. This is gold.		This scene, I love. This is one of my favorite scenes of the season, this scene between Laura and Adama. And again, if we had had to really chop apart "Resurrection Ship" to get it down to a one hour episode, we would've had to—we— in fact I think we did lose this scene at one point, when we were messing around to see what an hour version would look like, and it just broke my heart, because this is a lovely, lovely scene. I love the performances here are just tremendous, and you really get a sense that these two people in this scene have walked such a road from where they began in the miniseries, where they really were at odds and could bare— and barely gave each other the time of day, to the point where Adama had relieved her of her presidency and instituted a military coup, and Laura had broken out and led a rebellion, and they had gone to [[Kobol (RDM)\|Kobol]], and I mean they had just traveled such a journey, and then now, in the middle of this other crisis, Laura is dying. And Adama is there to give her a glass of water, and just be there with her. And you can just ''see''— y'know, the look on his face— y'know, the connection with her and it's just amazing. And y'know, there are times I just— I am so grateful for the cast. I know I've said that before in these podcasts, but this just gold. This is gold.

	And look at his face. His heart's breaking. The trust between the two of them. They do trust each other. They ''know'' each other, they know each other's weaknesses, they know each other's limitations, they know each other's integrity, and sense of honor.		And look at his face. His heart's breaking. The trust between the two of them. They do trust each other. They ''know'' each other, they know each other's weaknesses, they know each other's limitations, they know each other's integrity, and sense of honor.