Podcast:Scattered - Revision history

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

2025-06-15T21:30:37Z

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

← Older revision		Revision as of 21:30, 15 June 2025
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	Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". I'm [[Ronald D. Moore]], executive producer and developer of the [[Battlestar Galactica (RDM)\|new ''Battlestar Galactica'']]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the [[Season 2\|second season]] as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last season's finale "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I won't tell you too many details about that episode, because it's still sort of on the drawing boards and still something we're considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open season two a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really wasn't going to, I didn't want "Scattered" to directly pickup the cliffhanger.		Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". I'm [[Ronald D. Moore]], executive producer and developer of the [[Battlestar Galactica (RDM)\|new ''Battlestar Galactica'']]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the [[Season 2\|second season]] as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last season's finale "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I won't tell you too many details about that episode, because it's still sort of on the drawing boards and still something we're considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open season two a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really wasn't going to, I didn't want "Scattered" to directly pickup the cliffhanger.

	Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the audience's expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies ~~(RDM)~~#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.		Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the audience's expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies of Kobol#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.

	In any case, that's how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene you're watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and Adama's been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where Adama's life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we didn't like them. We just didn't feel, they weren't quite the show, frankly. And um, and really not through any, you really can't point your finger at any particular person (missing) maybe me because it was my concept. And you know. I don't know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I don't know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into Tigh's experience. They would be from Tigh's memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, you'll see that there are many places where we're going directly off of Tigh. You know, you're creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. He's thinking about Adama along the table. He's remembering the moment he met Adama. It's informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now you're sort of going inside Colonel Tigh's head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.		In any case, that's how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene you're watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and Adama's been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where Adama's life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we didn't like them. We just didn't feel, they weren't quite the show, frankly. And um, and really not through any, you really can't point your finger at any particular person (missing) maybe me because it was my concept. And you know. I don't know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I don't know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into Tigh's experience. They would be from Tigh's memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, you'll see that there are many places where we're going directly off of Tigh. You know, you're creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. He's thinking about Adama along the table. He's remembering the moment he met Adama. It's informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now you're sort of going inside Colonel Tigh's head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.

Steelviper: /* Act 4 */ changed quotation location. the "I'm a screwup" was the kind of quality

2019-05-22T20:03:05Z

Act 4: changed quotation location. the "I'm a screwup" was the kind of quality

← Older revision		Revision as of 20:03, 22 May 2019
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	The great thing here is this is- there's a definite homage quality in this to [[Wikipedia:Apocalypse Now\|''Apocalypse Now'']] which is one of our- a brilliant film. One of our all-time favorites and we certainly wanted to pay respect to that in certain ways with this scene. But it's not the same scene. They don't put him in the shower and sober him up. It's- he just goes off and pulls himself together. Which, for our story, is more effective. There was something great about him getting ready to light his own medals on fire with the lighter fluid and I wanted to convey this idea that he might- the whole place might go up but we didn't q- we weren't able to quite convey that.		The great thing here is this is- there's a definite homage quality in this to [[Wikipedia:Apocalypse Now\|''Apocalypse Now'']] which is one of our- a brilliant film. One of our all-time favorites and we certainly wanted to pay respect to that in certain ways with this scene. But it's not the same scene. They don't put him in the shower and sober him up. It's- he just goes off and pulls himself together. Which, for our story, is more effective. There was something great about him getting ready to light his own medals on fire with the lighter fluid and I wanted to convey this idea that he might- the whole place might go up but we didn't q- we weren't able to quite convey that.

	And you don't- who- leading characters don't say this. What leading second-in-command that you can think of has this, "I don't wanna command. I'm not up to it. This isn't the way it's supposed to be. I should have died back there." I think it's true. I think it is was Colonel Tigh really thinks and feels but it's unusual to see that portrayed in television, a sign of honest, "I'm a screwup and I know it kind of quality to it."		And you don't- who- leading characters don't say this. What leading second-in-command that you can think of has this, "I don't wanna command. I'm not up to it. This isn't the way it's supposed to be. I should have died back there." I think it's true. I think it is was Colonel Tigh really thinks and feels but it's unusual to see that portrayed in television, a sign of honest, "I'm a screwup and I know it," kind of quality to it.

	And here we're getting ready to go out of the show. There's the big window, as you- which was a part of the museum, for those of you who saw the miniseries. They had a museum in here 'cause the ship was getting ready to be decommissioned. But there's nobody lives in there anymore. Nobody works over there. Nobody's gotten over there anymore to inspect that particular piece of damage. They have other things to do and they're landing pilots. They're- they have other damage. They have actual fires in other areas of the ship. They have things to deal with. And so- and here we go. Very cool. And right into camera. And "to be continued". So, there you have it. There was "[[Scattered]]". Thank you for coming along on the ride and hopefully I'll be talking to you next week on "Valley of Darkness". Take care and I'll talk to you then. Bye.		And here we're getting ready to go out of the show. There's the big window, as you- which was a part of the museum, for those of you who saw the miniseries. They had a museum in here 'cause the ship was getting ready to be decommissioned. But there's nobody lives in there anymore. Nobody works over there. Nobody's gotten over there anymore to inspect that particular piece of damage. They have other things to do and they're landing pilots. They're- they have other damage. They have actual fires in other areas of the ship. They have things to deal with. And so- and here we go. Very cool. And right into camera. And "to be continued". So, there you have it. There was "[[Scattered]]". Thank you for coming along on the ride and hopefully I'll be talking to you next week on "Valley of Darkness". Take care and I'll talk to you then. Bye.

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

Serenity at 19:38, 27 February 2008

2008-02-27T19:38:45Z

Show changes

Catrope: {{podcast data}}

2008-02-27T19:28:23Z

← Older revision		Revision as of 19:28, 27 February 2008
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	{{podcast\|~~author~~=Huh?\|~~emailAuthor2~~= ~~and~~ [[~~Special~~:~~Emailuser/~~Steelviper\|Steelviper]]\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=A}}		{{Podcast Data
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			\|local=
			\|posted date=
			\|transcribed by= [[User:Huh?\|Huh?]]<br/>[[User:Steelviper\|Steelviper]]
			\|verified by= [[User:Steelviper\|Steelviper]]<br/>[[User:Shane\|Shane]]<br/>[[User:PrePressChris\|PrePressChris]]<br/>[[User:Madbrood\|Madbrood]]
			\|length=
			\|finished= Y
			\|verified= Y
			\|scotch=
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			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_1of5.mp3 Teaser]==

	Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". ~~I’m~~ [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new Battlestar Galactica]]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the second season as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last ~~season’s~~ finale "[[Kobol's Last Gleaming, Part I\|~~Kobol’s~~ Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I ~~won’t~~ tell you too many details about that episode, because ~~it’s~~ still sort of on the drawing boards and still something ~~we’re~~ considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open ~~[[Season 2 (2005-06)\|~~season two]] a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really ~~wasn’t~~ going to, I ~~didn’t~~ want "Scattered" to directly pickup the cliffhanger.		Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)\|the new Battlestar Galactica]]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the [[Season 2\|second season]] as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last season's finale "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I won't tell you too many details about that episode, because it's still sort of on the drawing boards and still something we're considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open season two a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really wasn't going to, I didn't want "Scattered" to directly pickup the cliffhanger.

	Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the ~~audience’s~~ expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.		Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the audience's expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.

	In any case, ~~that’s~~ how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene ~~you’re~~ watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and ~~Adama’s~~ been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where ~~Adama’s~~ life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we ~~didn’t~~ like them. We just ~~didn’t~~ feel, they ~~weren’t~~ quite the show, frankly. And um, and really not through any, you really ~~can’t~~ point your finger at any particular person (missing) maybe me because it was my concept. And you know. I ~~don’t~~ know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I ~~don’t~~ know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into ~~Tigh’s~~ experience. They would be from ~~Tigh’s~~ memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, ~~you’ll~~ see that there are many places where we're going directly off of Tigh. You know, ~~you’re~~ creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. ~~He’s~~ thinking about Adama along the table. ~~He’s~~ remembering the moment he met Adama. ~~It’s~~ informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now ~~you’re~~ sort of going inside Colonel ~~Tigh’s~~ head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.		In any case, that's how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene you're watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and Adama's been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where Adama's life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we didn't like them. We just didn't feel, they weren't quite the show, frankly. And um, and really not through any, you really can't point your finger at any particular person (missing) maybe me because it was my concept. And you know. I don't know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I don't know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into Tigh's experience. They would be from Tigh's memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, you'll see that there are many places where we're going directly off of Tigh. You know, you're creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. He's thinking about Adama along the table. He's remembering the moment he met Adama. It's informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now you're sort of going inside Colonel Tigh's head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.

	Now I apologize, because my DVD, <laughter> my DVD copy of "Scattered" is screwing up slightly. So ~~it’s~~ freezing periodically. And ~~I’m~~ having a little trouble. I think ~~it’s~~ my home system more than anything else. My handy dandy home system that I just got. In any case, I am now at the section where [[Anastasia Dualla\|Dualla]], where [[The Fleet (RDM)\|the fleet]] is jumping away in any case. Dualla is just saying jump, there we go. So the roots of this story, even before the cliffhanger, this idea that the fleet would be lost and scattered across a vast section is actually something that predates season two. It actually is something that was in one of the first log lines for the series way back when I was sending up a list of potential storylines to the network saying that these are the shows that we would do if you would take us to series and on them were ideas like "[[33]]" you know the idea that the [[Cylons (RDM)\|Cylons]] come back every thirty-three minutes was one of them. The riot aboard the [[Astral Queen\|prison ship]] was one of them. And the fact that there would be a jump and the fleet would be scattered across a vast expanse was one of them. This is a little slightly different instead of all the ships of the fleet being scattered and lost, ~~it’s~~ essentially that ''Galactica'' is really the one ~~that’s~~ been lost. You know ~~it’s~~ ''Galactica'' that has jumped to a different location than the rest of the fleet. ~~You’ll~~ notice ~~I’m~~ in the main title sequence here. The main title sequence ~~you’ll~~ note has changed this year. We have lopped off the second part, the sort of upcoming scenes section with the drum beats and all that in favor of keeping just sort of the beginning and making it a little bit shorter. And ~~I’ll~~ talk a little bit more about that when we come back on act one. And hopefully my DVD will continue to function. <quiet> Boom… ''Galactica''.		Now I apologize, because my DVD, <laughter> my DVD copy of "Scattered" is screwing up slightly. So it's freezing periodically. And I'm having a little trouble. I think it's my home system more than anything else. My handy dandy home system that I just got. In any case, I am now at the section where [[Anastasia Dualla\|Dualla]], where [[The Fleet (RDM)\|the fleet]] is jumping away in any case. Dualla is just saying jump, there we go. So the roots of this story, even before the cliffhanger, this idea that the fleet would be lost and scattered across a vast section is actually something that predates season two. It actually is something that was in one of the first log lines for the series way back when I was sending up a list of potential storylines to the network saying that these are the shows that we would do if you would take us to series and on them were ideas like "[[33]]" you know the idea that the [[Cylons (RDM)\|Cylons]] come back every thirty-three minutes was one of them. The riot aboard the [[Astral Queen\|prison ship]] was one of them. And the fact that there would be a jump and the fleet would be scattered across a vast expanse was one of them. This is a little slightly different instead of all the ships of the fleet being scattered and lost, it's essentially that ''Galactica'' is really the one that's been lost. You know it's ''Galactica'' that has jumped to a different location than the rest of the fleet. You'll notice I'm in the main title sequence here. The main title sequence you'll note has changed this year. We have lopped off the second part, the sort of upcoming scenes section with the drum beats and all that in favor of keeping just sort of the beginning and making it a little bit shorter. And I'll talk a little bit more about that when we come back on act one. And hopefully my DVD will continue to function. <quiet> Boom… ''Galactica''.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_2of5.mp3 Act 1]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_2of5.mp3 Act 1]==

Mercifull: adding podcast list

2007-04-19T11:20:27Z

adding podcast list

← Older revision		Revision as of 11:20, 19 April 2007
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	And here we're getting ready to go out of the show. There's the big window, as you- which was a part of the museum, for those of you who saw the miniseries. They had a museum in here 'cause the ship was getting ready to be decommissioned. But there's nobody lives in there anymore. Nobody works over there. Nobody's gotten over there anymore to inspect that particular piece of damage. They have other things to do and they're landing pilots. They're- they have other damage. They have actual fires in other areas of the ship. They have things to deal with. And so- and here we go. Very cool. And right into camera. And "to be continued". So, there you have it. There was "[[Scattered]]". Thank you for coming along on the ride and hopefully I'll be talking to you next week on "Valley of Darkness". Take care and I'll talk to you then. Bye.		And here we're getting ready to go out of the show. There's the big window, as you- which was a part of the museum, for those of you who saw the miniseries. They had a museum in here 'cause the ship was getting ready to be decommissioned. But there's nobody lives in there anymore. Nobody works over there. Nobody's gotten over there anymore to inspect that particular piece of damage. They have other things to do and they're landing pilots. They're- they have other damage. They have actual fires in other areas of the ship. They have things to deal with. And so- and here we go. Very cool. And right into camera. And "to be continued". So, there you have it. There was "[[Scattered]]". Thank you for coming along on the ride and hopefully I'll be talking to you next week on "Valley of Darkness". Take care and I'll talk to you then. Bye.

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T20:21:04Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 20:21, 13 April 2007
Line 15:		Line 15:
	Ok. Act one. As I was saying, before I get into the [[Gaius Baltar\|Baltar]]-[[Number Six\|Six]] stuff that you're seeing now, we also changed the main title theme back to the UK version, which was always the preference of the producers and everyone on the show and there was some internal debate about which was the best main title, what's the best theme music. I think end of the day, basically everybody agreed that the theme that we had season one was not as evocative and interesting as the UK version so we all agreed to do that. The reason behind losing the second half was to just make the whole thing a little faster to get through the main title a little quicker, and also there were complaints. There had been- some people just don't like seeing scenes from the upcoming show. I really dug it. I always- I was always a big proponent of it and really liked it. I know that [[David Eick]], my partner, also loved it too, but, there were legitimate people that just said, "Well, we don't wanna be spoiled. We don't wanna see the scenes that we're coming up on." So we decided to lose it.		Ok. Act one. As I was saying, before I get into the [[Gaius Baltar\|Baltar]]-[[Number Six\|Six]] stuff that you're seeing now, we also changed the main title theme back to the UK version, which was always the preference of the producers and everyone on the show and there was some internal debate about which was the best main title, what's the best theme music. I think end of the day, basically everybody agreed that the theme that we had season one was not as evocative and interesting as the UK version so we all agreed to do that. The reason behind losing the second half was to just make the whole thing a little faster to get through the main title a little quicker, and also there were complaints. There had been- some people just don't like seeing scenes from the upcoming show. I really dug it. I always- I was always a big proponent of it and really liked it. I know that [[David Eick]], my partner, also loved it too, but, there were legitimate people that just said, "Well, we don't wanna be spoiled. We don't wanna see the scenes that we're coming up on." So we decided to lose it.

	So there's [[David Weddle\|David]] and [[Bradley Thompson\|Bradley]], who wrote the episode. And we're back in Baltar's head down on [[Kobol]]. One of the interesting things about this season in the way that this all begins is that there were so many plot threads to pick up from [[Season 1 (2004-05)\|last season]], from the end of Kobol. And we made the decision very early on- I really did not want to wrap all the storylines up in a nice, neat little package in the first hour. It didn't feel right. It didn't feel with- it would work within the parameters of the reality we've created and it was just far less interesting to try to bring all these people back to [[Galactica (RDM)\|''Galactica'']] and get 'em back to where they were. Hit the reset button, as it were. So, we really opted to tease out the storyline. And the storyline kept getting bigger. I think initially there were going to be five episodes that would be dedicated to all these plot threads of people on Kobol, [[Kara Thrace\|Kara]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]], and the people on ''Galactica'', and [[Laura Roslin\|Laura]] not being President and [[William Adama\|Adama]] being shot. All those things, I think, were initially going to be resolved in way or another by the time we got to, like, [[The Farm\|episode five]]. As we started developing the scripts, two of the scripts just became unamanagable as single, one-hour episodes, and this is one of them. "[[Scattered]]" initially- oh, and as a side note: If you're listening to this I hope you're into being spoiled because we're going to be talking about not just things coming up in this episode but things coming up in subsequent episodes so, fair warning. There will be spoilers given away here. "Scattered" had encompassed in its storyline not only- it just had this entire piece of material in that most of the action that was going to be in part- in what is now the second episode, in "[[Valley of Darkness]]", most of that storyline was also in "Scattered". All the action that takes place on Kobol in "Valley of Darkness" having to do with what you'll see in that one, the death of the- well, I just gave it away. (Laughs) In essence, what happens to [[Socinus]] in part two is all- was all gonna be in "Scattered". What happens to Kara and [[Karl Agathon\|Helo]] in the second episode was also going to be in "Scattered". The eventual wrap-up of all the events on ''Galactica'' was gonna be on "Scattered". But we just couldn't do it. It was too many things to manage in a one-hour episode. An hour- we've always struggled with the length of our scripts and the length of our episodes. There's only, if you look at it, there's really only about forty minutes and change of actual program content and our scripts tend to run in the- in the early drafts they're always in the fifties. Usually we like them to be in the low fifties, fifty one, fifty two, fifty three. Sixty page scripts are not unheard of. An ideal page script for us going into shooting is usually about forty six, forty seven pages. Sometimes we make that, sometimes we don't. But even when we make that, and I think we did on "Scattered", I think we- in the final draft of "Scattered", I think it was around forty seven, forty eight pages. The shows are still too huge. They're still too long. The style of storytelling, I might have talked about this before, just requires spending more time on character, creating moments, really taking your time as you go through the show. And that just expands. And so "Scattered," in its initial draft, was just much too big to sustain one episode so we essentially divided it into two and created another action storyline for part two, which is "Valley of Darkness," which as you'll see at the end of this show the [[Cylon Centurion\|Cylons]] are on the ship. The Cylons have boarded ''Galactica'' and that's our cliffhanger ending for episode one. And then that becomes the primary action storyline of part two. But all the other tales that happen in part two, apart from the Cylon boarding, were actually all supposed to be in "Scattered" and there was just no way that the show could really support that. It was just too, too much to have to deal with. So we split them into two shows. Same- similar thing happened with [[Home, Part I\|episode six]], which was going to be the place where all the storylines were wrapped up and Laura was eventually restored to the Presidency, and Adama's back, and everybody gets back home. Episode six became much too large to sustain one hour as well, so we split that into two. So now, essentially, season one and the storylines that we began in season one don't really end until episode seven of the second season. Which is great. It's a really, in a way, that's like- we have a twenty episode first season, if you want to look think about it like that.		So there's [[David Weddle\|David]] and [[Bradley Thompson\|Bradley]], who wrote the episode. And we're back in Baltar's head down on [[Kobol (RDM)\|Kobol]]. One of the interesting things about this season in the way that this all begins is that there were so many plot threads to pick up from [[Season 1 (2004-05)\|last season]], from the end of Kobol. And we made the decision very early on- I really did not want to wrap all the storylines up in a nice, neat little package in the first hour. It didn't feel right. It didn't feel with- it would work within the parameters of the reality we've created and it was just far less interesting to try to bring all these people back to [[Galactica (RDM)\|''Galactica'']] and get 'em back to where they were. Hit the reset button, as it were. So, we really opted to tease out the storyline. And the storyline kept getting bigger. I think initially there were going to be five episodes that would be dedicated to all these plot threads of people on Kobol, [[Kara Thrace\|Kara]] on [[The Twelve Colonies (RDM)#Caprica\|Caprica]], and the people on ''Galactica'', and [[Laura Roslin\|Laura]] not being President and [[William Adama\|Adama]] being shot. All those things, I think, were initially going to be resolved in way or another by the time we got to, like, [[The Farm\|episode five]]. As we started developing the scripts, two of the scripts just became unamanagable as single, one-hour episodes, and this is one of them. "[[Scattered]]" initially- oh, and as a side note: If you're listening to this I hope you're into being spoiled because we're going to be talking about not just things coming up in this episode but things coming up in subsequent episodes so, fair warning. There will be spoilers given away here. "Scattered" had encompassed in its storyline not only- it just had this entire piece of material in that most of the action that was going to be in part- in what is now the second episode, in "[[Valley of Darkness]]", most of that storyline was also in "Scattered". All the action that takes place on Kobol in "Valley of Darkness" having to do with what you'll see in that one, the death of the- well, I just gave it away. (Laughs) In essence, what happens to [[Socinus]] in part two is all- was all gonna be in "Scattered". What happens to Kara and [[Karl Agathon\|Helo]] in the second episode was also going to be in "Scattered". The eventual wrap-up of all the events on ''Galactica'' was gonna be on "Scattered". But we just couldn't do it. It was too many things to manage in a one-hour episode. An hour- we've always struggled with the length of our scripts and the length of our episodes. There's only, if you look at it, there's really only about forty minutes and change of actual program content and our scripts tend to run in the- in the early drafts they're always in the fifties. Usually we like them to be in the low fifties, fifty one, fifty two, fifty three. Sixty page scripts are not unheard of. An ideal page script for us going into shooting is usually about forty six, forty seven pages. Sometimes we make that, sometimes we don't. But even when we make that, and I think we did on "Scattered", I think we- in the final draft of "Scattered", I think it was around forty seven, forty eight pages. The shows are still too huge. They're still too long. The style of storytelling, I might have talked about this before, just requires spending more time on character, creating moments, really taking your time as you go through the show. And that just expands. And so "Scattered," in its initial draft, was just much too big to sustain one episode so we essentially divided it into two and created another action storyline for part two, which is "Valley of Darkness," which as you'll see at the end of this show the [[Cylon Centurion\|Cylons]] are on the ship. The Cylons have boarded ''Galactica'' and that's our cliffhanger ending for episode one. And then that becomes the primary action storyline of part two. But all the other tales that happen in part two, apart from the Cylon boarding, were actually all supposed to be in "Scattered" and there was just no way that the show could really support that. It was just too, too much to have to deal with. So we split them into two shows. Same- similar thing happened with [[Home, Part I\|episode six]], which was going to be the place where all the storylines were wrapped up and Laura was eventually restored to the Presidency, and Adama's back, and everybody gets back home. Episode six became much too large to sustain one hour as well, so we split that into two. So now, essentially, season one and the storylines that we began in season one don't really end until episode seven of the second season. Which is great. It's a really, in a way, that's like- we have a twenty episode first season, if you want to look think about it like that.

	Ok. Back to what we're dealing with here. This is [[Lee Adama\|Lee]] and Laura and their troubled and conflicted relationship now that Lee has sided- Lee very dramatically sided with Laura aboard ''[[Colonial One]]'' last season, and Laura did not back him up and I think that embittered him in certain ways and creates tension in their relationship because Lee was expecting her to be there for him. He put a gun to [[Saul Tigh\|Tigh]]'s head and then she immediately went, "Ok, I can't do this. I can't have Colonial officers shooting each other. This has gone too far." She has to stop.		Ok. Back to what we're dealing with here. This is [[Lee Adama\|Lee]] and Laura and their troubled and conflicted relationship now that Lee has sided- Lee very dramatically sided with Laura aboard ''[[Colonial One]]'' last season, and Laura did not back him up and I think that embittered him in certain ways and creates tension in their relationship because Lee was expecting her to be there for him. He put a gun to [[Saul Tigh\|Tigh]]'s head and then she immediately went, "Ok, I can't do this. I can't have Colonial officers shooting each other. This has gone too far." She has to stop.
Line 45:		Line 45:
	This is all improvised dialogue, actually, that the actors came up with as they chatted back and forth. There was something else scripted but the actors went way off book here and with Michael worked out another little piece of banter, which worked out really nicely.		This is all improvised dialogue, actually, that the actors came up with as they chatted back and forth. There was something else scripted but the actors went way off book here and with Michael worked out another little piece of banter, which worked out really nicely.

	That's great. This is the kind of sequence you don't often really see, I think, where it's just the bolt from the blue attack that takes out somebody that you've started to form a relationship with, and you're just under fire. I like the sound design and all. This flat echo of the gunshots out in the forest feels very realistic. I like the fact that this is not scored with some giant, orchestral, pulse-pounding sequence, which would tell you that it's all ok on some level because, "Hey, there's music- there's action music." It's the agony of actually being shot. It's the terror of, "Where are those guys out there?" There's [[Cally Henderson Tyrol\|Cally]] squeezing off rounds. It's just great. I like this sequence a lot. It's a powerful one. It feels very raw. It's like they're out there and, man, the Cylons are out there too. And again, like I said, the [[Kobol]] storyline is one of my favorites because it just feels like we're dealing with real things that happen to real people and not- Things don't always go well for real people.		That's great. This is the kind of sequence you don't often really see, I think, where it's just the bolt from the blue attack that takes out somebody that you've started to form a relationship with, and you're just under fire. I like the sound design and all. This flat echo of the gunshots out in the forest feels very realistic. I like the fact that this is not scored with some giant, orchestral, pulse-pounding sequence, which would tell you that it's all ok on some level because, "Hey, there's music- there's action music." It's the agony of actually being shot. It's the terror of, "Where are those guys out there?" There's [[Cally Henderson Tyrol\|Cally]] squeezing off rounds. It's just great. I like this sequence a lot. It's a powerful one. It feels very raw. It's like they're out there and, man, the Cylons are out there too. And again, like I said, the [[Kobol (RDM)\|Kobol]] storyline is one of my favorites because it just feels like we're dealing with real things that happen to real people and not- Things don't always go well for real people.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]==

Steelviper: + season, episode variables

2007-02-27T21:00:19Z

+ season, episode variables

← Older revision		Revision as of 21:00, 27 February 2007
Line 1:		Line 1:
	{{podcast\|author=Huh?\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=\|additionalCopyright=}}		{{podcast\|author=Huh?\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=\|additionalCopyright=\|season=2\|episode=A}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_1of5.mp3 Teaser]==

Steelviper: internal link instead of imdb

2007-02-05T16:47:17Z

internal link instead of imdb

← Older revision		Revision as of 16:47, 5 February 2007
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	This quiet walk around of [[Sharon Valerii (Galactica copy)\|Sharon]], I think, is just great. I love this moment that Michael and- the two Michaels, Michael Hogan, [[Michael Rymer]], created here. Sharon's fear. Tigh's anger, hatred, loathing, fear, concern, confusion. What is this thing? I can't believe it's Sharon. And then- ooh. That's gotta hurt. I like this scene a lot. It's a dark scene. It's a dark show. This is what would really happen, though, in my opinion. This is how these characters would behave. Tigh would not take a lot of guff off- Tigh doesn't take a lot of guff off of anybody, much less Sharon Valerii who just shot [[The Old Man]]. Oof! Oof. And there's those flashes of the number three on the door.		This quiet walk around of [[Sharon Valerii (Galactica copy)\|Sharon]], I think, is just great. I love this moment that Michael and- the two Michaels, Michael Hogan, [[Michael Rymer]], created here. Sharon's fear. Tigh's anger, hatred, loathing, fear, concern, confusion. What is this thing? I can't believe it's Sharon. And then- ooh. That's gotta hurt. I like this scene a lot. It's a dark scene. It's a dark show. This is what would really happen, though, in my opinion. This is how these characters would behave. Tigh would not take a lot of guff off- Tigh doesn't take a lot of guff off of anybody, much less Sharon Valerii who just shot [[The Old Man]]. Oof! Oof. And there's those flashes of the number three on the door.

	Now, in a couple of cuts, at that very moment- see right now there's a stylized piece. He sees- he remembers the door, which is a recurring motif throughout the show, that's, "What's the door about? What's the door? What's the door?" and then he sees a flash of Adama. In a few cuts of this we actually made it a more literal flashback, where Adama had literally stopped him from killing another man in the past when Tigh was drunk and Adama warned him, "Someday you're gonna kill someone and you're no- and you're not going to be able to call it back, and you're not gonna be- it'll be too late. And I won't be your friend anymore," he says kinda sardonically. And Tigh says, "Yeah, that'd be a [[frak]]kin' shame." And then you came back to the Sharon scene. It was a little to literal. It was a little too on the nose. It delivered the message a little- it hit you over the head with the message a little bit too much. So this is a much better version that [[~~[[IMDB:nm0782890~~\|Andy]], our editor, cut. Where it's just subliminal and you know that there's meaning to it and that there's a bit of something from Tigh's subconscious and his past is slowing him down and keeping him from putting a bullet in Sharon's head right there.		Now, in a couple of cuts, at that very moment- see right now there's a stylized piece. He sees- he remembers the door, which is a recurring motif throughout the show, that's, "What's the door about? What's the door? What's the door?" and then he sees a flash of Adama. In a few cuts of this we actually made it a more literal flashback, where Adama had literally stopped him from killing another man in the past when Tigh was drunk and Adama warned him, "Someday you're gonna kill someone and you're no- and you're not going to be able to call it back, and you're not gonna be- it'll be too late. And I won't be your friend anymore," he says kinda sardonically. And Tigh says, "Yeah, that'd be a [[frak]]kin' shame." And then you came back to the Sharon scene. It was a little to literal. It was a little too on the nose. It delivered the message a little- it hit you over the head with the message a little bit too much. So this is a much better version that [[Andrew Seklir\|Andy]], our editor, cut. Where it's just subliminal and you know that there's meaning to it and that there's a bit of something from Tigh's subconscious and his past is slowing him down and keeping him from putting a bullet in Sharon's head right there.

	This sequence actually we shortened. In looking for cuts he tightened that significantly. There was another [[Cylons (RDM)\|Cylon]]- there was a Cylon attack there, where they start taking fire and they barely got away. And then you cut here, still.		This sequence actually we shortened. In looking for cuts he tightened that significantly. There was another [[Cylons (RDM)\|Cylon]]- there was a Cylon attack there, where they start taking fire and they barely got away. And then you cut here, still.

PrePressChris: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3] */ - word (it's actually "kinda", dropping for S&C)

2007-01-12T18:58:48Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]: - word (it's actually "kinda", dropping for S&C)

← Older revision		Revision as of 18:58, 12 January 2007
Line 49:		Line 49:
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]==

	-that we had trouble figuring out how to editorially get from the previous scene to this scene for quite some time. A lot of times the scripts are written one way, in a certain structure, in the editing room you play around with exactly where certain sequences fall and how you get from A to B. And for q- there were several cuts where we had those two scenes on top of each other where you sit sort of a dissolve or a quick cut that they had just gotten away and we had a different act one ending at some poin- or act, whichever act it was that just ended, act two. And we shifted things around to make that the act break and then you ~~could~~ come back here.		-that we had trouble figuring out how to editorially get from the previous scene to this scene for quite some time. A lot of times the scripts are written one way, in a certain structure, in the editing room you play around with exactly where certain sequences fall and how you get from A to B. And for q- there were several cuts where we had those two scenes on top of each other where you sit sort of a dissolve or a quick cut that they had just gotten away and we had a different act one ending at some poin- or act, whichever act it was that just ended, act two. And we shifted things around to make that the act break and then you come back here.

	This is an effective little moment, I feel. He's [[Socinus\|just a guy]], he's a guy you barely know, but you just start to know him and you try to rescue him, and you pull him out of the line of fire, and he dies anyway. 'Cause that really happens. It's- war is an ugly, bad thing and for all the heroics of it and all the noble causes that can be associated with it, and the camaraderie, these things happen. It's death. It's ugly death. It's death that comes up to people that don't deserve it and people that do. And I like that. I like the fact that our characters have emotions. They're not just stoic. They don't just take death in stride, like so many people on TV do and just move on and just step over the body and, "Oh, it's a tough, tough world you live in, kid," and move on. It's [[Cally Henderson Tyrol\|Cally]] that's trying to pull the [[Galen Tyrol\|Chief]] off of there. It's not the other way around. Cally's not collapsing in tears in hysterics. Cally's got the medkit and the backpack and she's got the mission, and it's the Chief that has to be pulled away from his man. Which I think is wonderful. I think it says a lot of great things about the innate humanity of these character in the world of [[Battlestar Galactica (RDM)\|''Galactica'']].		This is an effective little moment, I feel. He's [[Socinus\|just a guy]], he's a guy you barely know, but you just start to know him and you try to rescue him, and you pull him out of the line of fire, and he dies anyway. 'Cause that really happens. It's- war is an ugly, bad thing and for all the heroics of it and all the noble causes that can be associated with it, and the camaraderie, these things happen. It's death. It's ugly death. It's death that comes up to people that don't deserve it and people that do. And I like that. I like the fact that our characters have emotions. They're not just stoic. They don't just take death in stride, like so many people on TV do and just move on and just step over the body and, "Oh, it's a tough, tough world you live in, kid," and move on. It's [[Cally Henderson Tyrol\|Cally]] that's trying to pull the [[Galen Tyrol\|Chief]] off of there. It's not the other way around. Cally's not collapsing in tears in hysterics. Cally's got the medkit and the backpack and she's got the mission, and it's the Chief that has to be pulled away from his man. Which I think is wonderful. I think it says a lot of great things about the innate humanity of these character in the world of [[Battlestar Galactica (RDM)\|''Galactica'']].

Joe Beaudoin Jr.: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3] */ fixing broken link

2006-12-16T01:33:52Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/201/bsg_ep201_4of5.mp3 Act 3]: fixing broken link

← Older revision		Revision as of 01:33, 16 December 2006
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	The bit of the soap... (Chuckles.) And I wrote- yeah, I remember- I think I added this little piece that Gaeta lines up the pieces of soap and gets an idea. It's just a nice little, easy to understand, gag. Then on we go.		The bit of the soap... (Chuckles.) And I wrote- yeah, I remember- I think I added this little piece that Gaeta lines up the pieces of soap and gets an idea. It's just a nice little, easy to understand, gag. Then on we go.

	And then we're into a bit of a bit of the [[technobabble]], which no science fiction show would be without. It's hard stuff to write. It's unpleasant stuff to watch and film and somehow you still need it. Every once in a while you still gotta do these kinda gags where, just to explain what the hell the idea is, you gotta go into this mumbo jumbo jargon. We try to keep it to a [[naturalistic science fiction\|bare minimum]]. At [[~~Memoryalpa~~:Star Trek\|''Star Trek'']], when I was working at ''Star Trek'', there were times when we just had pages and pages of this tech kind of dialogue. I've probably ranted about this before on other podcasts, so forgive me if I'm really, if this is becoming a hobby horse, but I think a lot of science fiction, filmed science fiction and film and television, falls down on this front where there's just too much emphasis on all this gobbledygook stuff that doesn't exist and doesn't matter, ultimately. 'Cause it's really about the [[:Category:Characters (RDM)\|characters]]. It's about what choices they're going to make.		And then we're into a bit of a bit of the [[technobabble]], which no science fiction show would be without. It's hard stuff to write. It's unpleasant stuff to watch and film and somehow you still need it. Every once in a while you still gotta do these kinda gags where, just to explain what the hell the idea is, you gotta go into this mumbo jumbo jargon. We try to keep it to a [[naturalistic science fiction\|bare minimum]]. At [[MemoryAlpha:Star Trek\|''Star Trek'']], when I was working at ''Star Trek'', there were times when we just had pages and pages of this tech kind of dialogue. I've probably ranted about this before on other podcasts, so forgive me if I'm really, if this is becoming a hobby horse, but I think a lot of science fiction, filmed science fiction and film and television, falls down on this front where there's just too much emphasis on all this gobbledygook stuff that doesn't exist and doesn't matter, ultimately. 'Cause it's really about the [[:Category:Characters (RDM)\|characters]]. It's about what choices they're going to make.

	And for those of you who do listen- who's listened to these podcasts before, it'll be no surprise to you that the gardeners have decided to work across the street in the damn day of the podcast, here in lovely Southern California.		And for those of you who do listen- who's listened to these podcasts before, it'll be no surprise to you that the gardeners have decided to work across the street in the damn day of the podcast, here in lovely Southern California.

← Older revision		Revision as of 21:30, 15 June 2025
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	Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". I'm [[Ronald D. Moore]], executive producer and developer of the [[Battlestar Galactica (RDM)\|new ''Battlestar Galactica'']]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the [[Season 2\|second season]] as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last season's finale "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I won't tell you too many details about that episode, because it's still sort of on the drawing boards and still something we're considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open season two a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really wasn't going to, I didn't want "Scattered" to directly pickup the cliffhanger.		Hello and welcome to the first podcast of the second season for the episode "[[Scattered]]". I'm [[Ronald D. Moore]], executive producer and developer of the [[Battlestar Galactica (RDM)\|new ''Battlestar Galactica'']]. Thank you all for tuning in and for listening to the podcasts, which I will try to continue to do for as much of the [[Season 2\|second season]] as I possibly can. <chuckle> This episode of "Battlestar Galactica" to kick off season two went- underwent a great deal of changes all the way from concept on to final broadcast. Initially, we had a different plan to open the second season instead of doing a direct pickup on the cliffhanger ending from last season's finale "[[Kobol's Last Gleaming, Part I\|Kobol's Last Gleaming]]". I wanted to do something a little different and not come back directly to the cliffhanger and actually do a completely separate sort of episode that was an episode set some time in the distant past. I won't tell you too many details about that episode, because it's still sort of on the drawing boards and still something we're considering doing at a later date. But in essence, what is now "Scattered" and the subsequent episode, episode two, "[[Valley of Darkness]]", were actually going to be episode number two, and then as it worked out we decided not to go that way and decided to open season two a little bit more traditionally with a direct pickup into the cliffhanger. That said, "Scattered" really wasn't going to, I didn't want "Scattered" to directly pickup the cliffhanger.

	Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the audience's expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies ~~(RDM)~~#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.		Still, I was still kind of like fighting against that notion and wanted to really kind of ah subvert the audience's expectations of what we were going to do. And the episode in script form actually picked up or opened with an open scene in a bar on [[The Twelve Colonies of Kobol#Caprica\|Caprica]] twenty years ago and you just kind of cut into this scene it was a bar filled with a lot of people, televisions and on in the background giving commentaries on [[Pyramid (RDM)\|pyramid]] games etc. And you went over, and there was [[Saul Tigh\|Colonel Tigh]] at the bar, a much younger Colonel Tigh with hair, and he was doodling a [[Viper (RDM)\|Viper]] weapon systems on a napkin. And some guys came in, you realized they were crewmen from another merchant freighter that he was on and ah they were taunting him in some way and a fight broke out. And the fight got pretty ugly and Colonel Tigh ultimately has a man down and is about to break his neck when another man rushes up behind him and is about to hit him with a bottle and possibly kill him and you hear the chick chick sound of a shotgun and you pan off and there is [[William Adama\|Adama]]. And this was how Adama and Tigh first met. They met in a bar in between the wars. The backstory to the series is that the initial [[Cylon War\|Cylon conflict]] was fought forty years ago and in that war both Tigh and Adama were young men who did not fight together, they fought in separate ways on separate vessels, had separate experiences. And after the war was over, both men were discharged along with many other service people out into the civilian world and they both sort of happened to sign up aboard the same civilian tramp freighter that was plying the trade routes in among the colonies and that was how they met.

	In any case, that's how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene you're watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and Adama's been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where Adama's life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we didn't like them. We just didn't feel, they weren't quite the show, frankly. And um, and really not through any, you really can't point your finger at any particular person (missing) maybe me because it was my concept. And you know. I don't know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I don't know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into Tigh's experience. They would be from Tigh's memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, you'll see that there are many places where we're going directly off of Tigh. You know, you're creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. He's thinking about Adama along the table. He's remembering the moment he met Adama. It's informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now you're sort of going inside Colonel Tigh's head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.		In any case, that's how I wanted to open this episode. We were going to open this show with just that scene and show how the two men met and then come into the scene you're watching now where Tigh takes command of [[Galactica (RDM)\|''Galactica'']] and Adama's been shot and there is all this chaos. And the episode was going to continue to sort of flash back onto their relationship of the early days of Tigh and Adama and how the two men met and what meant to each other, what it was that Adama saw in Tigh for the first time and sort of really go through the creation of the friendship. And counterpointing that with events in the current day ''Galactica'' where Adama's life hangs in the balance and Tigh is making decisions based on, in part on things that he learned from Adama way back in those days. And we shot those sequences. Those sequences were shot and ah edited together, and we looked at them. But ultimately, we didn't like them. We just didn't feel, they weren't quite the show, frankly. And um, and really not through any, you really can't point your finger at any particular person (missing) maybe me because it was my concept. And you know. I don't know that I created or had the writers of this episode [[Bradley Thompson]] and [[David Weddle]]; I don't know that I gave them really a rich enough environment to really tell that back story. In any case, when we watched the cut, we all kind of felt, and the director included, that it was, it would just be a better story to tell the tale in a more linear fashion. And that we would still use that material, still use the flashback material that we had. But instead of making it these objective points of view, we were going to tie them, we were going to change them into subjective points of view. That is, we would tie them directly into Tigh's experience. They would be from Tigh's memories instead of sort of the audience watching these events happen as if you were just cutting back in time. We would tie them all to Colonel Tigh specifically. So as you watch the show, you'll see that there are many places where we're going directly off of Tigh. You know, you're creating these flashbacks now in a subjective way. Tigh is thinking about Adama. You can see it subliminally there in the teaser. He's thinking about Adama along the table. He's remembering the moment he met Adama. It's informing his decision now. So it really kind of changed the tenor of the episode, instead of it being this sort of dramatic device that was sort of counterpointing present day reality with past events. It became more of a character study of Colonel Tigh because now you're sort of going inside Colonel Tigh's head. And sort of, you know, living with him – his experiences as seen through the prism of his relationship with Adama.

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	This quiet walk around of [[Sharon Valerii (Galactica copy)\|Sharon]], I think, is just great. I love this moment that Michael and- the two Michaels, Michael Hogan, [[Michael Rymer]], created here. Sharon's fear. Tigh's anger, hatred, loathing, fear, concern, confusion. What is this thing? I can't believe it's Sharon. And then- ooh. That's gotta hurt. I like this scene a lot. It's a dark scene. It's a dark show. This is what would really happen, though, in my opinion. This is how these characters would behave. Tigh would not take a lot of guff off- Tigh doesn't take a lot of guff off of anybody, much less Sharon Valerii who just shot [[The Old Man]]. Oof! Oof. And there's those flashes of the number three on the door.		This quiet walk around of [[Sharon Valerii (Galactica copy)\|Sharon]], I think, is just great. I love this moment that Michael and- the two Michaels, Michael Hogan, [[Michael Rymer]], created here. Sharon's fear. Tigh's anger, hatred, loathing, fear, concern, confusion. What is this thing? I can't believe it's Sharon. And then- ooh. That's gotta hurt. I like this scene a lot. It's a dark scene. It's a dark show. This is what would really happen, though, in my opinion. This is how these characters would behave. Tigh would not take a lot of guff off- Tigh doesn't take a lot of guff off of anybody, much less Sharon Valerii who just shot [[The Old Man]]. Oof! Oof. And there's those flashes of the number three on the door.

	Now, in a couple of cuts, at that very moment- see right now there's a stylized piece. He sees- he remembers the door, which is a recurring motif throughout the show, that's, "What's the door about? What's the door? What's the door?" and then he sees a flash of Adama. In a few cuts of this we actually made it a more literal flashback, where Adama had literally stopped him from killing another man in the past when Tigh was drunk and Adama warned him, "Someday you're gonna kill someone and you're no- and you're not going to be able to call it back, and you're not gonna be- it'll be too late. And I won't be your friend anymore," he says kinda sardonically. And Tigh says, "Yeah, that'd be a [[frak]]kin' shame." And then you came back to the Sharon scene. It was a little to literal. It was a little too on the nose. It delivered the message a little- it hit you over the head with the message a little bit too much. So this is a much better version that [[~~[[IMDB:nm0782890~~\|Andy]], our editor, cut. Where it's just subliminal and you know that there's meaning to it and that there's a bit of something from Tigh's subconscious and his past is slowing him down and keeping him from putting a bullet in Sharon's head right there.		Now, in a couple of cuts, at that very moment- see right now there's a stylized piece. He sees- he remembers the door, which is a recurring motif throughout the show, that's, "What's the door about? What's the door? What's the door?" and then he sees a flash of Adama. In a few cuts of this we actually made it a more literal flashback, where Adama had literally stopped him from killing another man in the past when Tigh was drunk and Adama warned him, "Someday you're gonna kill someone and you're no- and you're not going to be able to call it back, and you're not gonna be- it'll be too late. And I won't be your friend anymore," he says kinda sardonically. And Tigh says, "Yeah, that'd be a [[frak]]kin' shame." And then you came back to the Sharon scene. It was a little to literal. It was a little too on the nose. It delivered the message a little- it hit you over the head with the message a little bit too much. So this is a much better version that [[Andrew Seklir\|Andy]], our editor, cut. Where it's just subliminal and you know that there's meaning to it and that there's a bit of something from Tigh's subconscious and his past is slowing him down and keeping him from putting a bullet in Sharon's head right there.

	This sequence actually we shortened. In looking for cuts he tightened that significantly. There was another [[Cylons (RDM)\|Cylon]]- there was a Cylon attack there, where they start taking fire and they barely got away. And then you cut here, still.		This sequence actually we shortened. In looking for cuts he tightened that significantly. There was another [[Cylons (RDM)\|Cylon]]- there was a Cylon attack there, where they start taking fire and they barely got away. And then you cut here, still.