Podcast:Valley of Darkness - Revision history

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

2020-04-11T02:03:58Z

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

← Older revision		Revision as of 02:03, 11 April 2020
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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:Steelviper\|Steelviper]] (partially)		\|verified by= [[User:Steelviper\|Steelviper]] (partially)
	\|length=		\|length=

Serenity at 19:43, 27 February 2008

2008-02-27T19:43:21Z

Show changes

Catrope: {{podcast data}}

2008-02-27T19:29:59Z

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	{{podcast\|~~author~~=Peter Farago\|~~emailAuthor2~~= ~~and~~ [[~~Special~~:~~Emailuser/~~Steelviper\|Steelviper]]\|~~suffix~~=s\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=A2}}		{{Podcast Data
			\|special=
			\|season=2
			\|episode=2
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Peter Farago\|Peter Farago]]<br/>[[User:Steelviper\|Steelviper]]
			\|verified by= [[User:Steelviper\|Steelviper]] (partially)
			\|length=
			\|finished= Y
			\|verified=
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==

Mars: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] */ italics

2007-06-17T12:16:40Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1]: italics

← Older revision		Revision as of 12:16, 17 June 2007
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	I'm shutting the door, in case you're wondering what all the creaking is, just so it doesn't bother you all at home and your sensitive ears on your [[Wikipedia:iPod\|iPods]]. I wouldn't want you to drive off the road as you hear the traffic from my house or something.		I'm shutting the door, in case you're wondering what all the creaking is, just so it doesn't bother you all at home and your sensitive ears on your [[Wikipedia:iPod\|iPods]]. I wouldn't want you to drive off the road as you hear the traffic from my house or something.

	—in any case, now we're down here in the [[brig]] with [[Laura Roslin\|Laura]]. Again, a lot of this, the structure of "[[Valley of Darkness]]" went through a lot of changes and permutations. At what point do you cut to Laura? At what point do you pick up Lee again? Whose point of view are you taking? There was a lot of just complicated editing. What is the tone of the piece? Is this story on ''Galactica'' of the Cylons running amok in the corridors, is it a haunted house movie? Or is it something more like [[Wikipedia:Aliens (film)\|Aliens]]? And trying to strike the balance of those two ideas took up a great deal of time, and a lot of sort of playing around in editing in terms— in every aspect, in terms of how long you're in a particular scene, how much air there is in a scene, that is, how much time, gaps between dialogue, are you building suspense, what kind of music are you using, what's the sound design in the background— we had a lot of discussions about "how much gunfire should you hear in the background of all these shots?" And we felt that it was important that you kept hearing distant gunfire, so that you knew there were battles out there being fought in the passageways and corridors, even though we weren't showing them. And we're not showing them because we're following a very specific story. You're following the storyline of Lee and his team, and you're following Laura, and her people. And you don't want to constantly be giving away where the bad guys are. You don't want to constantly just be showing Centurions mowing down ''Galactica'' crewmen— as much fun as that would be— because that doesn't really help you tell the story. You want— the story you're following is: "where are the Cylons?" and "where could they be," and "they could be around any corner."		—in any case, now we're down here in the [[brig]] with [[Laura Roslin\|Laura]]. Again, a lot of this, the structure of "[[Valley of Darkness]]" went through a lot of changes and permutations. At what point do you cut to Laura? At what point do you pick up Lee again? Whose point of view are you taking? There was a lot of just complicated editing. What is the tone of the piece? Is this story on ''Galactica'' of the Cylons running amok in the corridors, is it a haunted house movie? Or is it something more like [[Wikipedia:Aliens (film)\|''Aliens'']]? And trying to strike the balance of those two ideas took up a great deal of time, and a lot of sort of playing around in editing in terms— in every aspect, in terms of how long you're in a particular scene, how much air there is in a scene, that is, how much time, gaps between dialogue, are you building suspense, what kind of music are you using, what's the sound design in the background— we had a lot of discussions about "how much gunfire should you hear in the background of all these shots?" And we felt that it was important that you kept hearing distant gunfire, so that you knew there were battles out there being fought in the passageways and corridors, even though we weren't showing them. And we're not showing them because we're following a very specific story. You're following the storyline of Lee and his team, and you're following Laura, and her people. And you don't want to constantly be giving away where the bad guys are. You don't want to constantly just be showing Centurions mowing down ''Galactica'' crewmen— as much fun as that would be— because that doesn't really help you tell the story. You want— the story you're following is: "where are the Cylons?" and "where could they be," and "they could be around any corner."

	Now we're back on Cylon-occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This storyline from henceforth on Caprica is really one of my favorites in the whole series. I love this particular shot of them walking down the alleyway— this is obviously Vancouver. And this was really funny for a long time in dailies and in editing, because right behind [[Kara Thrace\|Kara]] down that alleyway there used to be cars going back and forth— it's a busy street. There were cars constantly crossing back behind them. And she used to talk about where all the dead bodies are, and there was a line coming up later that I think we actually cut where she says, "Where's all the cars?" and you could see the cars, like, behind her.		Now we're back on Cylon-occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This storyline from henceforth on Caprica is really one of my favorites in the whole series. I love this particular shot of them walking down the alleyway— this is obviously Vancouver. And this was really funny for a long time in dailies and in editing, because right behind [[Kara Thrace\|Kara]] down that alleyway there used to be cars going back and forth— it's a busy street. There were cars constantly crossing back behind them. And she used to talk about where all the dead bodies are, and there was a line coming up later that I think we actually cut where she says, "Where's all the cars?" and you could see the cars, like, behind her.

Mercifull: adding podcast list

2007-04-19T11:20:50Z

adding podcast list

← Older revision		Revision as of 11:20, 19 April 2007
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	And that's about it. And I will talk to you again on "[[Fragged]]". So take care, and thank you.		And that's about it. And I will talk to you again on "[[Fragged]]". So take care, and thank you.

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T19:59:39Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 19:59, 13 April 2007
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==

	Hello, and welcome to the podcast for episode two, [[Season 2 (2005-06)\|season two]], this will be discussing "[[Valley of Darkness]]". As those of you who listened to the podcast of episode one, "[[Scattered]]", know, "Valley of Darkness" was originally ''part'' of "Scattered". All the "B" storylines, the character lines, and what happens on [[Kobol~~#Kobol in the Re-imagined Series~~\|Kobol]] and [[The Twelve Colonies (RDM)#Caprica\|Caprica]], et cetera, were all originally in the season opener, and we felt that it was just too much, too much to cram into one episode. So we basically split it into two. The significantly new element in "Valley of Darkness", of course, is the boarding action against ''[[Galactica (RDM)\|Galactica]]'', which is where we left off. The finale of the first episode, of course, ends with the [[Cylon Centurion\|Cylons]] in the landing pod. Once we split "Scattered" into two parts, everyone agreed that the simple "A" story of [[the Fleet (RDM)\|the Fleet]] being scattered and [[Saul Tigh\|Tigh]]'s efforts to put the fleet back together were not enough to really sustain you for two full hours. They were fine to get you through one hour, but we really couldn't attenuate that story to a place where you would go through two episodes doing it. So we had to come up with something else, and it seemed that a logical place to go, that if a Cylon [[Heavy Raider\|Raider]] got through, crashed in a [[landing bay]]— in the starboard landing bay, where the museum was— that we could, as a jumping off point, we could say that that's where part one ends and part two picks up.		Hello, and welcome to the podcast for episode two, [[Season 2 (2005-06)\|season two]], this will be discussing "[[Valley of Darkness]]". As those of you who listened to the podcast of episode one, "[[Scattered]]", know, "Valley of Darkness" was originally ''part'' of "Scattered". All the "B" storylines, the character lines, and what happens on [[Kobol (RDM)\|Kobol]] and [[The Twelve Colonies (RDM)#Caprica\|Caprica]], et cetera, were all originally in the season opener, and we felt that it was just too much, too much to cram into one episode. So we basically split it into two. The significantly new element in "Valley of Darkness", of course, is the boarding action against ''[[Galactica (RDM)\|Galactica]]'', which is where we left off. The finale of the first episode, of course, ends with the [[Cylon Centurion\|Cylons]] in the landing pod. Once we split "Scattered" into two parts, everyone agreed that the simple "A" story of [[the Fleet (RDM)\|the Fleet]] being scattered and [[Saul Tigh\|Tigh]]'s efforts to put the fleet back together were not enough to really sustain you for two full hours. They were fine to get you through one hour, but we really couldn't attenuate that story to a place where you would go through two episodes doing it. So we had to come up with something else, and it seemed that a logical place to go, that if a Cylon [[Heavy Raider\|Raider]] got through, crashed in a [[landing bay]]— in the starboard landing bay, where the museum was— that we could, as a jumping off point, we could say that that's where part one ends and part two picks up.

	Episode two is also— it was a very problematic show, in a lot of— for a lot of reasons, in editing and post-production, and there was a lot of controversy about the show, there was a lot of re-editing— one could prolly fill an entire DVD with the various cuts of this episode. Starting right here: this scene, with [[Billy Keikeya\|Billy]], [[Anastasia Dualla\|Dualla]], at the beginning is now one of the nicer textures in the show, in that it sets up this nice little subplot that we touch on later. This was actually shot much later. This was something we went back and put into the show, because there was a feeling that the show was too dark, that there was too intense, it was too violent, that there was— it wasn't enough, sort of ''life'' in it, and there weren't another other colors, as it were, to— of other textures, and human stories going on, so what we did is we shot the bookends, of Billy and Dualla in the corridor here at the beginning, and Billy and Dualla in sickbay at the end, and we also expanded the Caprica piece that I'll talk about later. Essentially, though, we did have in the original draft and the original cut, there was the sequence of Billy encountering Dualla in the corridor and them going off together, and all the action that takes place with Billy and Dualla in the action part of the story. What we didn't have was any texture about their relationship, and why they— why he found her, and why he reacted to her the way he did, why there was any kind of relationship. And the feeling— I felt that— [[David Eick\|David]] and I talked about this when we were getting a lot of heat about how dark the show was, and we talked about just in general, the fact that it would be nice to touch on that storyline again. And now it's like a ''story'': it has a beginning, middle, and end. There's the setup of the relationship and what's going on with Billy and Dualla, that she's feeling a bit shut out with him, and then they run into each other in the context of the action story, and then there's a wrap-up at the end. So we created, essentially, a story out of what was just sort of a runner.		Episode two is also— it was a very problematic show, in a lot of— for a lot of reasons, in editing and post-production, and there was a lot of controversy about the show, there was a lot of re-editing— one could prolly fill an entire DVD with the various cuts of this episode. Starting right here: this scene, with [[Billy Keikeya\|Billy]], [[Anastasia Dualla\|Dualla]], at the beginning is now one of the nicer textures in the show, in that it sets up this nice little subplot that we touch on later. This was actually shot much later. This was something we went back and put into the show, because there was a feeling that the show was too dark, that there was too intense, it was too violent, that there was— it wasn't enough, sort of ''life'' in it, and there weren't another other colors, as it were, to— of other textures, and human stories going on, so what we did is we shot the bookends, of Billy and Dualla in the corridor here at the beginning, and Billy and Dualla in sickbay at the end, and we also expanded the Caprica piece that I'll talk about later. Essentially, though, we did have in the original draft and the original cut, there was the sequence of Billy encountering Dualla in the corridor and them going off together, and all the action that takes place with Billy and Dualla in the action part of the story. What we didn't have was any texture about their relationship, and why they— why he found her, and why he reacted to her the way he did, why there was any kind of relationship. And the feeling— I felt that— [[David Eick\|David]] and I talked about this when we were getting a lot of heat about how dark the show was, and we talked about just in general, the fact that it would be nice to touch on that storyline again. And now it's like a ''story'': it has a beginning, middle, and end. There's the setup of the relationship and what's going on with Billy and Dualla, that she's feeling a bit shut out with him, and then they run into each other in the context of the action story, and then there's a wrap-up at the end. So we created, essentially, a story out of what was just sort of a runner.
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2]==

	Okay, I'll get back to [[Saul Tigh\|Tigh]] in a minute, 'cause I have to, 'cause now we're on [[Kobol]].		Okay, I'll get back to [[Saul Tigh\|Tigh]] in a minute, 'cause I have to, 'cause now we're on [[Kobol (RDM)\|Kobol]].

	This sequence, I think is really great. I think there's some people that will be quite disturbed by this sequence; I think it's really interesting and really intriguing, and it pushes the mythos forward in an interesting way, and I just think it's— but this was a controversial sequence, this whole beat of, not the [[Raptor]]s flying over, but the whole beat of [[William Adama\|Adama]] and the baby and Adama drowning the baby, and I think there was a lot of hesitation, and there was a lot of nervousness, and "oh my God, can we show this?" and "oh please—" and it was a lot of arguing and y'know, I just kept fighting for it. [[David Eick\|David]] and I kept fighting for it, and kept saying, "oh, this is important. This is about the threat to the child that [[Gaius Baltar\|Baltar]]'s investing in, and you're basically setting up a marker that Adama in some way, shape, or form, is the threat that Baltar must face to fulfill— y'know, that Adama is going to be an obstacle— a major obstacle in front of Baltar— between Baltar and fulfilling his destiny ''vis a vis'' the child. So this is a simple, visual, clear, and brutal way of dramatizing that event, and I just felt it was great, I felt that it's part of the show, that the show has these certain no-holds-barred, really brutal quality to it, that we don't shy away from things, that we tend not to avert our eyes when a lot of other shows would avert their eyes. And so we fought about this for quite a while, but ultimately made some compromises, changed some of the cutting pattern here, jumped our— did a couple of jump cuts to get you through it, and to not linger, exactly, on the shot of the baby actually being put under the water— because we really did go for it. You'll see here coming up that there's a beat where Adama— when Adama puts the child in the water— y'know, there were bubbles coming up, I mean, it was like, ''blub blub blub,'' down it goes. The whole thing— and I don't really have a hankering for infanticide, certainly, but y'know, I did— we did kill a baby in the [[Miniseries]], and here Adama's killing a baby, and y'know, I— there is a certain sort of classic myth to this notion. [http://www.biblegateway.com/passage/?search=Genesis%204:8;&version=9; There] [http://www.biblegateway.com/passage/?search=Genesis%2022:2;&version=9; are] [http://www.biblegateway.com/passage/?search=Exodus%201:22;&version=9; children]— [http://www.biblegateway.com/passage/?search=Exodus%2012:29;&version=9; babies] [http://www.biblegateway.com/passage/?search=Num.%2031:17;&version=9; are] [http://www.biblegateway.com/passage/?search=1%20Sam.%2015:3;&version=9; killed] [http://www.biblegateway.com/passage/?search=Jer.%207:31;&version=9; in] [http://www.biblegateway.com/passage/?search=Ezekiel%2016:20-21;&version=9; the] [[Wikipedia:Bible\|Bible]]. [[Wikipedia:Jesus\|Jesus]] is [[Wikipedia:Flight into Egypt\|spirited]] out of [[Wikipedia:Nazareth\|Nazareth]] because [[Wikipedia:Herod the Great\|Herod]] is— orders it all— the first, y'know— that [[Wikipedia:Massacre of the Innocents\|all the Israelite children should be killed]], and probably I'm screwing up my biblical history, but that was the gist, as I recall.		This sequence, I think is really great. I think there's some people that will be quite disturbed by this sequence; I think it's really interesting and really intriguing, and it pushes the mythos forward in an interesting way, and I just think it's— but this was a controversial sequence, this whole beat of, not the [[Raptor]]s flying over, but the whole beat of [[William Adama\|Adama]] and the baby and Adama drowning the baby, and I think there was a lot of hesitation, and there was a lot of nervousness, and "oh my God, can we show this?" and "oh please—" and it was a lot of arguing and y'know, I just kept fighting for it. [[David Eick\|David]] and I kept fighting for it, and kept saying, "oh, this is important. This is about the threat to the child that [[Gaius Baltar\|Baltar]]'s investing in, and you're basically setting up a marker that Adama in some way, shape, or form, is the threat that Baltar must face to fulfill— y'know, that Adama is going to be an obstacle— a major obstacle in front of Baltar— between Baltar and fulfilling his destiny ''vis a vis'' the child. So this is a simple, visual, clear, and brutal way of dramatizing that event, and I just felt it was great, I felt that it's part of the show, that the show has these certain no-holds-barred, really brutal quality to it, that we don't shy away from things, that we tend not to avert our eyes when a lot of other shows would avert their eyes. And so we fought about this for quite a while, but ultimately made some compromises, changed some of the cutting pattern here, jumped our— did a couple of jump cuts to get you through it, and to not linger, exactly, on the shot of the baby actually being put under the water— because we really did go for it. You'll see here coming up that there's a beat where Adama— when Adama puts the child in the water— y'know, there were bubbles coming up, I mean, it was like, ''blub blub blub,'' down it goes. The whole thing— and I don't really have a hankering for infanticide, certainly, but y'know, I did— we did kill a baby in the [[Miniseries]], and here Adama's killing a baby, and y'know, I— there is a certain sort of classic myth to this notion. [http://www.biblegateway.com/passage/?search=Genesis%204:8;&version=9; There] [http://www.biblegateway.com/passage/?search=Genesis%2022:2;&version=9; are] [http://www.biblegateway.com/passage/?search=Exodus%201:22;&version=9; children]— [http://www.biblegateway.com/passage/?search=Exodus%2012:29;&version=9; babies] [http://www.biblegateway.com/passage/?search=Num.%2031:17;&version=9; are] [http://www.biblegateway.com/passage/?search=1%20Sam.%2015:3;&version=9; killed] [http://www.biblegateway.com/passage/?search=Jer.%207:31;&version=9; in] [http://www.biblegateway.com/passage/?search=Ezekiel%2016:20-21;&version=9; the] [[Wikipedia:Bible\|Bible]]. [[Wikipedia:Jesus\|Jesus]] is [[Wikipedia:Flight into Egypt\|spirited]] out of [[Wikipedia:Nazareth\|Nazareth]] because [[Wikipedia:Herod the Great\|Herod]] is— orders it all— the first, y'know— that [[Wikipedia:Massacre of the Innocents\|all the Israelite children should be killed]], and probably I'm screwing up my biblical history, but that was the gist, as I recall.
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==

	And we're back on [[Kobol]]. This too- little sequence here with [[Cally Tyrol]] and [[Galen Tyrol\|Tyrol]] was a reshoot later that we added into the show. This was more for clarity and partially for texture, 'cause we wanted to catch you up with this story a little bit. Remind you that they're coming back from the place where [[Tarn]] got shot. And I like it in terms of its character and really glad that we added this piece, because I really like this notion that Tyrol's head is still back with the man he just lost, and Cally's trying to connect with him. And then she just like- she just loses it at him. And he's forced to deal with that. And I think Cally- this relationship between Cally and Tyrol has been an interesting one since the [[miniseries]]. I mean, Cally was, I think I'd said this before, Cally's a very small player in the miniseries and we just kept using her and there's something great about the relationship between these two knuckle draggers. The two guys down below-decks and what they've gone through and what they've shared and that they're on this mission to save one of their guys, to save [[Socinus]].		And we're back on [[Kobol (RDM)\|Kobol]]. This too- little sequence here with [[Cally Tyrol]] and [[Galen Tyrol\|Tyrol]] was a reshoot later that we added into the show. This was more for clarity and partially for texture, 'cause we wanted to catch you up with this story a little bit. Remind you that they're coming back from the place where [[Tarn]] got shot. And I like it in terms of its character and really glad that we added this piece, because I really like this notion that Tyrol's head is still back with the man he just lost, and Cally's trying to connect with him. And then she just like- she just loses it at him. And he's forced to deal with that. And I think Cally- this relationship between Cally and Tyrol has been an interesting one since the [[miniseries]]. I mean, Cally was, I think I'd said this before, Cally's a very small player in the miniseries and we just kept using her and there's something great about the relationship between these two knuckle draggers. The two guys down below-decks and what they've gone through and what they've shared and that they're on this mission to save one of their guys, to save [[Socinus]].

	It's effective. This- I mean, I'm very happy on balance of all the reshoots that we did and that we added them into the show. That it does provide a little bit more humanity into it and just get to spend more time with these characters is the biggest plus that came out of the effort to go back and really keep working on this particular episode. This- overall, "[[Valley of Darkness]]" now feel like a full meal. It feels like a richer meal. It feels like we've really expanded the language of what was happening in this particular episode. And they just keep going. 'Cause they've got- they're trying to get their stuff back to their guy.		It's effective. This- I mean, I'm very happy on balance of all the reshoots that we did and that we added them into the show. That it does provide a little bit more humanity into it and just get to spend more time with these characters is the biggest plus that came out of the effort to go back and really keep working on this particular episode. This- overall, "[[Valley of Darkness]]" now feel like a full meal. It feels like a richer meal. It feels like we've really expanded the language of what was happening in this particular episode. And they just keep going. 'Cause they've got- they're trying to get their stuff back to their guy.

Steelviper: + season, episode variables

2007-02-27T21:20:08Z

+ season, episode variables

← Older revision		Revision as of 21:20, 27 February 2007
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	{{podcast\|author=Peter Farago\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=s\|additionalCopyright=}}		{{podcast\|author=Peter Farago\|emailAuthor2= and [[Special:Emailuser/Steelviper\|Steelviper]]\|suffix=s\|additionalCopyright=\|season=2\|episode=A2}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser]==

Steelviper: + crew count link, dimensions link

2006-11-21T20:53:35Z

+ crew count link, dimensions link

← Older revision		Revision as of 20:53, 21 November 2006
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	This is my favorite scene. This my- easily my favorite scene of this episode. It is my favorite scene, really, of [[Season 2 (2005-06)\|the season]], and it's one of my favorite scenes of the entire series. I love this whole bit of texture, that you go to [[Kara Thrace]]'s apartment. I love the way the two actors react to it. [[Katee Sackhoff\|Katee]] and [[Tahmoh Penikett\|Tahmoh]] actually went in there on their own and did a lot of this painting on the walls and some of the canvasses and Katee was very involved in what Starbuck's apartment would be like. I like the fact that she painted and that she had this weird [[w:Bohemian\|Bohemian]] existence, that is antithetical, in a lot of ways, to what it is to be a fighter pilot in the military and that there was this other aspect of her. And we've heard some not-so-great things about her mother. We've implied them in [[Season 1 (2004-05)\|season one]] episodes, but then her father is a musician and her father is a- plays piano. And that she still has his cassettes or his tapes or his discs or whatever and listens to them. In fact, this leather jacket that she's going to pick up, in a minute, and put on, is supposed to be her father's jacket. I mean, it's mentioned in the script. It's not really mentioned in dialogue. It's just a bit of background texture on the character that tells you something about her. It's a mood. There's a mood to this scene. This scene doesn't move the plot forward, except in a tiny way later when they get the car keys. That's really the only plot reason for this scene. The character, though, aspect of the subtext of it. The- what it says about Kara Thrace, I think is fascinating. And there's something great about the fact that at the end of this scene, all they do is sit there and rest and take a break, man. 'Cause these guys have been on the run. And they've been on the run pretty much since the the pilot. They haven't had a lot of breaks. And it's unusual just to show your heroes on television taking a break. It's like, seldom can they just relax. I love the fact she sits on the [[Arrow of Apollo\|arrow]]. I don't think that was scripted. I'd love to take credit for it. I don't think it was was. I think that's just Katee being Katee and doing something cool. And Tahmoh sitting down with her and- you expect him to be going, "Come on Kara. We gotta go. We gotta go." And he's not. He's just- he's giving her the space. He's giving her the moment. This is her house. This is where she- her- where she's from. And it's the first time any of them have been back to a familiar place. We did talk about, in the first season, that maybe [[Karl Agathon\|Helo]] would go through his old town on- in his journey and we talked about that extensively and we never really got around to it or spent that screen time. And I'm glad that we saved it for this. There's- somehow, it's more meaningful that Kara- I'm more- I'm just more interested in getting into Kara's apartment, really. After having spent all this time with her and seeing where she came from and where she lived and what it said about her. And I love this whole little bit. I mean, I'm sorry to just keep saying how much I love it, but I do- the first time I saw this cut, this scene cut, I just was really moved by it. I was really touched by it, and it really meant something to me. It meant a great deal. It said that the show was really going into some really interesting areas and was doing things that I had always hoped the show would do. This one is a marker. This is- I have sense of personal achievement with this particular scene 'cause I think it really says something about this series and these characters and this world, and I'm just very proud of it. See? I love this. They just like kick back and relax. And the music just plays. How great is that? That's just- I don't know. I think it is great.		This is my favorite scene. This my- easily my favorite scene of this episode. It is my favorite scene, really, of [[Season 2 (2005-06)\|the season]], and it's one of my favorite scenes of the entire series. I love this whole bit of texture, that you go to [[Kara Thrace]]'s apartment. I love the way the two actors react to it. [[Katee Sackhoff\|Katee]] and [[Tahmoh Penikett\|Tahmoh]] actually went in there on their own and did a lot of this painting on the walls and some of the canvasses and Katee was very involved in what Starbuck's apartment would be like. I like the fact that she painted and that she had this weird [[w:Bohemian\|Bohemian]] existence, that is antithetical, in a lot of ways, to what it is to be a fighter pilot in the military and that there was this other aspect of her. And we've heard some not-so-great things about her mother. We've implied them in [[Season 1 (2004-05)\|season one]] episodes, but then her father is a musician and her father is a- plays piano. And that she still has his cassettes or his tapes or his discs or whatever and listens to them. In fact, this leather jacket that she's going to pick up, in a minute, and put on, is supposed to be her father's jacket. I mean, it's mentioned in the script. It's not really mentioned in dialogue. It's just a bit of background texture on the character that tells you something about her. It's a mood. There's a mood to this scene. This scene doesn't move the plot forward, except in a tiny way later when they get the car keys. That's really the only plot reason for this scene. The character, though, aspect of the subtext of it. The- what it says about Kara Thrace, I think is fascinating. And there's something great about the fact that at the end of this scene, all they do is sit there and rest and take a break, man. 'Cause these guys have been on the run. And they've been on the run pretty much since the the pilot. They haven't had a lot of breaks. And it's unusual just to show your heroes on television taking a break. It's like, seldom can they just relax. I love the fact she sits on the [[Arrow of Apollo\|arrow]]. I don't think that was scripted. I'd love to take credit for it. I don't think it was was. I think that's just Katee being Katee and doing something cool. And Tahmoh sitting down with her and- you expect him to be going, "Come on Kara. We gotta go. We gotta go." And he's not. He's just- he's giving her the space. He's giving her the moment. This is her house. This is where she- her- where she's from. And it's the first time any of them have been back to a familiar place. We did talk about, in the first season, that maybe [[Karl Agathon\|Helo]] would go through his old town on- in his journey and we talked about that extensively and we never really got around to it or spent that screen time. And I'm glad that we saved it for this. There's- somehow, it's more meaningful that Kara- I'm more- I'm just more interested in getting into Kara's apartment, really. After having spent all this time with her and seeing where she came from and where she lived and what it said about her. And I love this whole little bit. I mean, I'm sorry to just keep saying how much I love it, but I do- the first time I saw this cut, this scene cut, I just was really moved by it. I was really touched by it, and it really meant something to me. It meant a great deal. It said that the show was really going into some really interesting areas and was doing things that I had always hoped the show would do. This one is a marker. This is- I have sense of personal achievement with this particular scene 'cause I think it really says something about this series and these characters and this world, and I'm just very proud of it. See? I love this. They just like kick back and relax. And the music just plays. How great is that? That's just- I don't know. I think it is great.

	And then right back up. A legitimate question can be asked about, where is everybody else? Well, here there are. I mean, there are people on ''Galactica''. They're just getting shot. A lot. The Cylons are basically running through these corridors and laying waste to people and the ''Galactica'' crew is not having a lot of success in stopping them. I think it's also important to remember, for those of you who care about such things, that ''Galactica'' was a ship that was on its way to be decommissioned. It presumably had a skeleton crew to begin with that- however many people we say ''Galactica'' has, and I can't even honestly tell you off the top of my head how many crew it has. Probably a couple thousand. One thousand, two thousand, something like that. Probably had almost twice that many when it was at its full complement. So I think a lot of the ship is empty, in general, anyway. It's a very large ship. I mean, the [[Flight pod\|landing pods]] alone, I think, are the size of two or three football fields. So this is a very large vessel. And it's a bit undermanned at this point. And now they've got a crisis. They've got power off. They've got the [[Colonial Marine Corps\|the Marines]] are fighting and trying to stop these Cylons. Other guys are at damage control stations. Some of the people are getting mowed down. Other people are just staying the hell out of the way. So I think it is legitimate that you can play these kind of beats, with the ship being relatively empty, and remembering that they don't have communications. The sound-power- the [[w:Sound-powered telephone\|sound-powered telephones]] I don't think it's really working, but those lines are getting jammed, presumably the Cylons are cutting them. Blah, blah, blah, blah, blah. Essentially, if you really want to, you can find rationales for just about everything that we do. The question is, "Do you want to find those rationales? Or do you want to pick it apart?" It's like, if you're stopping and asking yourself those questions, "Why is the ship dark? Why can't they call? Where's-" Then we've lost you. Then the drama has not hooked you to the point where you don't care about those kinds of questions. Where you're actually thinking about the refrigerator-logic stuff. You close the door. Did the light really go off? Where did I put that carton of milk? It's like, you either care- you're either invested in the scene or you're not. And I- my feeling is you can get away with a lot. You can still play fair to the- with the audience as long as you have a rationale that holds up and that you can stand on. You just don't have to explain everything all the time.		And then right back up. A legitimate question can be asked about, where is everybody else? Well, here there are. I mean, there are people on ''Galactica''. They're just getting shot. A lot. The Cylons are basically running through these corridors and laying waste to people and the ''Galactica'' crew is not having a lot of success in stopping them. I think it's also important to remember, for those of you who care about such things, that ''Galactica'' was a ship that was on its way to be decommissioned. It presumably had a skeleton crew to begin with that- however many people we say ''Galactica'' has, and I can't even honestly tell you off the top of my head [[Galactica (RDM)#Crew\|how many crew it has]]. Probably a couple thousand. One thousand, two thousand, something like that. Probably had almost twice that many when it was at its full complement. So I think a lot of the ship is empty, in general, anyway. It's a [[Galactica_type_battlestar#Dimensions\|very large ship]]. I mean, the [[Flight pod\|landing pods]] alone, I think, are the size of two or three football fields. So this is a very large vessel. And it's a bit undermanned at this point. And now they've got a crisis. They've got power off. They've got the [[Colonial Marine Corps\|the Marines]] are fighting and trying to stop these Cylons. Other guys are at damage control stations. Some of the people are getting mowed down. Other people are just staying the hell out of the way. So I think it is legitimate that you can play these kind of beats, with the ship being relatively empty, and remembering that they don't have communications. The sound-power- the [[w:Sound-powered telephone\|sound-powered telephones]] I don't think it's really working, but those lines are getting jammed, presumably the Cylons are cutting them. Blah, blah, blah, blah, blah. Essentially, if you really want to, you can find rationales for just about everything that we do. The question is, "Do you want to find those rationales? Or do you want to pick it apart?" It's like, if you're stopping and asking yourself those questions, "Why is the ship dark? Why can't they call? Where's-" Then we've lost you. Then the drama has not hooked you to the point where you don't care about those kinds of questions. Where you're actually thinking about the refrigerator-logic stuff. You close the door. Did the light really go off? Where did I put that carton of milk? It's like, you either care- you're either invested in the scene or you're not. And I- my feeling is you can get away with a lot. You can still play fair to the- with the audience as long as you have a rationale that holds up and that you can stand on. You just don't have to explain everything all the time.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==

Steelviper: finished initial transcription of act 2, need to linkify

2006-11-21T20:42:40Z

finished initial transcription of act 2, need to linkify

← Older revision		Revision as of 20:42, 21 November 2006
Line 49:		Line 49:
	Back a little bit. Just to jump out and talk about Tigh and the backstory. We did shoot a whole scene with Tigh and Adama that was set in the same period as the flashbacks that you saw in "[[Scattered]]". And it was a scene, it was a drinking scene, between the two men. And it was modeled on the scene in [[w:Jaws (film)\|''Jaws'']] where [[w:Quint (Jaws character)\|Quint]] is telling you the story of the [[w:USS Indianapolis (CA-35)\|USS ''Indianapolis'']] and there was a similar beat where Tigh and Adama, who again, were on the freighter on the night before Adama goes to the fleet, are getting drunk. And they're getting really drunk. And then they're sitting there and they're trading stories and it turns out Tigh was on a ship call the ''[[Brenik]]''. And the ''Brenik'' was boarded by [[Cylon Centurion\|Cylons]] and they tried to decompress the ship and kill them all and turn the guns of the ''Brenik'' against the other ships in their escort fleeet, and Adama went through- and Tigh, it was his first taste of real, ugly, hand-to-hand combat and saw dead people for the first time. And then it turned out that Adama had gone through something similar on the [[Galactica (RDM)\|''Galactica'']]. It was the first time that we ever got in the show that Adama was actually on the ''Galactica''. It was his- in his backstory I always felt that ''Galactica'' was the first ship that Adama was assigned to during the [[Cylon War\|First Cylon War]], as a pilot. And that he went through a similar experience and ''Galactica'' lost a lot of men. A lot of good men died when the Cylons got on board. But is essentially, that flashback was what informed the audience knows what they're plan is and that they Cylon plan was they didn't come right at [[CIC]], they didn't go toward the magazines, they didn't even go towards the engines. That they essentially went to [[auxiliary fire control]] and [[aft damage control]]. They went to these secondary places on the ship, went into aft damage control, destroyed the safeties, got into the [[Computers in the Re-imagined Series\|computer systems]] and the mechanical systems and were able to overp- take over the ship from that point and then use auxiliary fire control to attack the ships around them.		Back a little bit. Just to jump out and talk about Tigh and the backstory. We did shoot a whole scene with Tigh and Adama that was set in the same period as the flashbacks that you saw in "[[Scattered]]". And it was a scene, it was a drinking scene, between the two men. And it was modeled on the scene in [[w:Jaws (film)\|''Jaws'']] where [[w:Quint (Jaws character)\|Quint]] is telling you the story of the [[w:USS Indianapolis (CA-35)\|USS ''Indianapolis'']] and there was a similar beat where Tigh and Adama, who again, were on the freighter on the night before Adama goes to the fleet, are getting drunk. And they're getting really drunk. And then they're sitting there and they're trading stories and it turns out Tigh was on a ship call the ''[[Brenik]]''. And the ''Brenik'' was boarded by [[Cylon Centurion\|Cylons]] and they tried to decompress the ship and kill them all and turn the guns of the ''Brenik'' against the other ships in their escort fleeet, and Adama went through- and Tigh, it was his first taste of real, ugly, hand-to-hand combat and saw dead people for the first time. And then it turned out that Adama had gone through something similar on the [[Galactica (RDM)\|''Galactica'']]. It was the first time that we ever got in the show that Adama was actually on the ''Galactica''. It was his- in his backstory I always felt that ''Galactica'' was the first ship that Adama was assigned to during the [[Cylon War\|First Cylon War]], as a pilot. And that he went through a similar experience and ''Galactica'' lost a lot of men. A lot of good men died when the Cylons got on board. But is essentially, that flashback was what informed the audience knows what they're plan is and that they Cylon plan was they didn't come right at [[CIC]], they didn't go toward the magazines, they didn't even go towards the engines. That they essentially went to [[auxiliary fire control]] and [[aft damage control]]. They went to these secondary places on the ship, went into aft damage control, destroyed the safeties, got into the [[Computers in the Re-imagined Series\|computer systems]] and the mechanical systems and were able to overp- take over the ship from that point and then use auxiliary fire control to attack the ships around them.

	This is my favorite scene. This my- easily my favorite scene of this episode. It is my favorite scene, really, of [[Season 2 (2005-06)\|the season]], and it's one of my favorite scenes of the entire series. I love this whole bit of texture, that you go to [[Kara Thrace]]'s apartment. I love the way the two actors react to it. [[Katee Sackhoff\|Katee]] and [[Tahmoh Penikett\|Tahmoh]] actually went in there on their own and did a lot of this painting on the walls and some of the canvasses and Katee was very involved in what Starbuck's apartment would be like. I like the fact that she painted and that she had this weird [[w:Bohemian\|Bohemian]] existence, that is antithetical, in a lot of ways, to what it is to be a fighter pilot in the military and that there was this other aspect of her. And we've heard some not-so-great things about her mother. We've implied them in [[Season 1 (2004-05)\|season one]] episodes, but then her father is a musician and her father is a- plays piano. And that she still has his cassettes or his tapes or his discs or whatever and listens to them. In fact, this leather jacket that she's going to pick up, in a minute, and put on, is supposed to be her father's jacket. I mean, it's mentioned in the script. It's not really mentioned in dialogue. It's just a bit of background texture on the character that tells you something about her. It's a mood. There's a mood to this scene. This scene doesn't move the plot forward, except in a tiny way later when they get the car keys. That's really the only plot reason for this scene. The character, though, aspect of the subtext of it. The- what it says about Kara Thrace, I think is fascinating. And there's something great about the fact that at the end of this scene, all they do is sit there and rest and take a break, man. 'Cause these guys have been on the run. And they've been on the run pretty much since the the pilot. They haven't had a lot of breaks. And it's unusual just to show your heroes on television taking a break. It's like, seldom can they just relax. I love the fact she sits on the [[Arrow of Apollo\|arrow]]. I don't think that was scripted. I'd love to take credit for it. I don't think it was was. I think that's just Katee being Katee and doing something cool. And Tahmoh sitting down with her and- you expect him to be going, "Come on Kara. We gotta go. We gotta go." And he's not. He's just- he's giving her the space. He's giving her the moment. This is her house. This is where she- her- where she's from. And it's the first time any of them have been back to a familiar place. We did talk about, in the first season, that maybe [[Karl Agathon\|Helo]] would go through his old town on- in his journey and we talked about that extensively and we never really got around to it or spent that screen time. And I'm glad that we saved it for this. There's- somehow, it's more meaningful that Kara- I'm more- I'm just more interested in getting into Kara's apartment, really. After having spent all this time with her and seeing where she came from and where she lived and what it said about her. And I love this whole little bit. I mean, I'm sorry to just keep saying how much I love it, but I do- the first time I saw this cut, this scene cut, I just was really moved by it. I was really touched by it, and it really meant something to me. It meant a great deal. It said that the show was really going into some really interesting areas and was doing things that I had always hoped the show would do. This one is a marker. This is- I have sense of personal achievement with this particular scene 'cause I think it really says something about this series and these characters and this world, and I'm just very proud of it.		This is my favorite scene. This my- easily my favorite scene of this episode. It is my favorite scene, really, of [[Season 2 (2005-06)\|the season]], and it's one of my favorite scenes of the entire series. I love this whole bit of texture, that you go to [[Kara Thrace]]'s apartment. I love the way the two actors react to it. [[Katee Sackhoff\|Katee]] and [[Tahmoh Penikett\|Tahmoh]] actually went in there on their own and did a lot of this painting on the walls and some of the canvasses and Katee was very involved in what Starbuck's apartment would be like. I like the fact that she painted and that she had this weird [[w:Bohemian\|Bohemian]] existence, that is antithetical, in a lot of ways, to what it is to be a fighter pilot in the military and that there was this other aspect of her. And we've heard some not-so-great things about her mother. We've implied them in [[Season 1 (2004-05)\|season one]] episodes, but then her father is a musician and her father is a- plays piano. And that she still has his cassettes or his tapes or his discs or whatever and listens to them. In fact, this leather jacket that she's going to pick up, in a minute, and put on, is supposed to be her father's jacket. I mean, it's mentioned in the script. It's not really mentioned in dialogue. It's just a bit of background texture on the character that tells you something about her. It's a mood. There's a mood to this scene. This scene doesn't move the plot forward, except in a tiny way later when they get the car keys. That's really the only plot reason for this scene. The character, though, aspect of the subtext of it. The- what it says about Kara Thrace, I think is fascinating. And there's something great about the fact that at the end of this scene, all they do is sit there and rest and take a break, man. 'Cause these guys have been on the run. And they've been on the run pretty much since the the pilot. They haven't had a lot of breaks. And it's unusual just to show your heroes on television taking a break. It's like, seldom can they just relax. I love the fact she sits on the [[Arrow of Apollo\|arrow]]. I don't think that was scripted. I'd love to take credit for it. I don't think it was was. I think that's just Katee being Katee and doing something cool. And Tahmoh sitting down with her and- you expect him to be going, "Come on Kara. We gotta go. We gotta go." And he's not. He's just- he's giving her the space. He's giving her the moment. This is her house. This is where she- her- where she's from. And it's the first time any of them have been back to a familiar place. We did talk about, in the first season, that maybe [[Karl Agathon\|Helo]] would go through his old town on- in his journey and we talked about that extensively and we never really got around to it or spent that screen time. And I'm glad that we saved it for this. There's- somehow, it's more meaningful that Kara- I'm more- I'm just more interested in getting into Kara's apartment, really. After having spent all this time with her and seeing where she came from and where she lived and what it said about her. And I love this whole little bit. I mean, I'm sorry to just keep saying how much I love it, but I do- the first time I saw this cut, this scene cut, I just was really moved by it. I was really touched by it, and it really meant something to me. It meant a great deal. It said that the show was really going into some really interesting areas and was doing things that I had always hoped the show would do. This one is a marker. This is- I have sense of personal achievement with this particular scene 'cause I think it really says something about this series and these characters and this world, and I'm just very proud of it. See? I love this. They just like kick back and relax. And the music just plays. How great is that? That's just- I don't know. I think it is great.

			And then right back up. A legitimate question can be asked about, where is everybody else? Well, here there are. I mean, there are people on ''Galactica''. They're just getting shot. A lot. The Cylons are basically running through these corridors and laying waste to people and the ''Galactica'' crew is not having a lot of success in stopping them. I think it's also important to remember, for those of you who care about such things, that ''Galactica'' was a ship that was on its way to be decommissioned. It presumably had a skeleton crew to begin with that- however many people we say ''Galactica'' has, and I can't even honestly tell you off the top of my head how many crew it has. Probably a couple thousand. One thousand, two thousand, something like that. Probably had almost twice that many when it was at its full complement. So I think a lot of the ship is empty, in general, anyway. It's a very large ship. I mean, the [[Flight pod\|landing pods]] alone, I think, are the size of two or three football fields. So this is a very large vessel. And it's a bit undermanned at this point. And now they've got a crisis. They've got power off. They've got the [[Colonial Marine Corps\|the Marines]] are fighting and trying to stop these Cylons. Other guys are at damage control stations. Some of the people are getting mowed down. Other people are just staying the hell out of the way. So I think it is legitimate that you can play these kind of beats, with the ship being relatively empty, and remembering that they don't have communications. The sound-power- the [[w:Sound-powered telephone\|sound-powered telephones]] I don't think it's really working, but those lines are getting jammed, presumably the Cylons are cutting them. Blah, blah, blah, blah, blah. Essentially, if you really want to, you can find rationales for just about everything that we do. The question is, "Do you want to find those rationales? Or do you want to pick it apart?" It's like, if you're stopping and asking yourself those questions, "Why is the ship dark? Why can't they call? Where's-" Then we've lost you. Then the drama has not hooked you to the point where you don't care about those kinds of questions. Where you're actually thinking about the refrigerator-logic stuff. You close the door. Did the light really go off? Where did I put that carton of milk? It's like, you either care- you're either invested in the scene or you're not. And I- my feeling is you can get away with a lot. You can still play fair to the- with the audience as long as you have a rationale that holds up and that you can stand on. You just don't have to explain everything all the time.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==

Steelviper: act 2 through 10:00

2006-11-21T20:11:40Z

act 2 through 10:00

← Older revision		Revision as of 20:11, 21 November 2006
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	Back a little bit. Just to jump out and talk about Tigh and the backstory. We did shoot a whole scene with Tigh and Adama that was set in the same period as the flashbacks that you saw in "[[Scattered]]". And it was a scene, it was a drinking scene, between the two men. And it was modeled on the scene in [[w:Jaws (film)\|''Jaws'']] where [[w:Quint (Jaws character)\|Quint]] is telling you the story of the [[w:USS Indianapolis (CA-35)\|USS ''Indianapolis'']] and there was a similar beat where Tigh and Adama, who again, were on the freighter on the night before Adama goes to the fleet, are getting drunk. And they're getting really drunk. And then they're sitting there and they're trading stories and it turns out Tigh was on a ship call the ''[[Brenik]]''. And the ''Brenik'' was boarded by [[Cylon Centurion\|Cylons]] and they tried to decompress the ship and kill them all and turn the guns of the ''Brenik'' against the other ships in their escort fleeet, and Adama went through- and Tigh, it was his first taste of real, ugly, hand-to-hand combat and saw dead people for the first time. And then it turned out that Adama had gone through something similar on the [[Galactica (RDM)\|''Galactica'']]. It was the first time that we ever got in the show that Adama was actually on the ''Galactica''. It was his- in his backstory I always felt that ''Galactica'' was the first ship that Adama was assigned to during the [[Cylon War\|First Cylon War]], as a pilot. And that he went through a similar experience and ''Galactica'' lost a lot of men. A lot of good men died when the Cylons got on board. But is essentially, that flashback was what informed the audience knows what they're plan is and that they Cylon plan was they didn't come right at [[CIC]], they didn't go toward the magazines, they didn't even go towards the engines. That they essentially went to [[auxiliary fire control]] and [[aft damage control]]. They went to these secondary places on the ship, went into aft damage control, destroyed the safeties, got into the [[Computers in the Re-imagined Series\|computer systems]] and the mechanical systems and were able to overp- take over the ship from that point and then use auxiliary fire control to attack the ships around them.		Back a little bit. Just to jump out and talk about Tigh and the backstory. We did shoot a whole scene with Tigh and Adama that was set in the same period as the flashbacks that you saw in "[[Scattered]]". And it was a scene, it was a drinking scene, between the two men. And it was modeled on the scene in [[w:Jaws (film)\|''Jaws'']] where [[w:Quint (Jaws character)\|Quint]] is telling you the story of the [[w:USS Indianapolis (CA-35)\|USS ''Indianapolis'']] and there was a similar beat where Tigh and Adama, who again, were on the freighter on the night before Adama goes to the fleet, are getting drunk. And they're getting really drunk. And then they're sitting there and they're trading stories and it turns out Tigh was on a ship call the ''[[Brenik]]''. And the ''Brenik'' was boarded by [[Cylon Centurion\|Cylons]] and they tried to decompress the ship and kill them all and turn the guns of the ''Brenik'' against the other ships in their escort fleeet, and Adama went through- and Tigh, it was his first taste of real, ugly, hand-to-hand combat and saw dead people for the first time. And then it turned out that Adama had gone through something similar on the [[Galactica (RDM)\|''Galactica'']]. It was the first time that we ever got in the show that Adama was actually on the ''Galactica''. It was his- in his backstory I always felt that ''Galactica'' was the first ship that Adama was assigned to during the [[Cylon War\|First Cylon War]], as a pilot. And that he went through a similar experience and ''Galactica'' lost a lot of men. A lot of good men died when the Cylons got on board. But is essentially, that flashback was what informed the audience knows what they're plan is and that they Cylon plan was they didn't come right at [[CIC]], they didn't go toward the magazines, they didn't even go towards the engines. That they essentially went to [[auxiliary fire control]] and [[aft damage control]]. They went to these secondary places on the ship, went into aft damage control, destroyed the safeties, got into the [[Computers in the Re-imagined Series\|computer systems]] and the mechanical systems and were able to overp- take over the ship from that point and then use auxiliary fire control to attack the ships around them.

			This is my favorite scene. This my- easily my favorite scene of this episode. It is my favorite scene, really, of [[Season 2 (2005-06)\|the season]], and it's one of my favorite scenes of the entire series. I love this whole bit of texture, that you go to [[Kara Thrace]]'s apartment. I love the way the two actors react to it. [[Katee Sackhoff\|Katee]] and [[Tahmoh Penikett\|Tahmoh]] actually went in there on their own and did a lot of this painting on the walls and some of the canvasses and Katee was very involved in what Starbuck's apartment would be like. I like the fact that she painted and that she had this weird [[w:Bohemian\|Bohemian]] existence, that is antithetical, in a lot of ways, to what it is to be a fighter pilot in the military and that there was this other aspect of her. And we've heard some not-so-great things about her mother. We've implied them in [[Season 1 (2004-05)\|season one]] episodes, but then her father is a musician and her father is a- plays piano. And that she still has his cassettes or his tapes or his discs or whatever and listens to them. In fact, this leather jacket that she's going to pick up, in a minute, and put on, is supposed to be her father's jacket. I mean, it's mentioned in the script. It's not really mentioned in dialogue. It's just a bit of background texture on the character that tells you something about her. It's a mood. There's a mood to this scene. This scene doesn't move the plot forward, except in a tiny way later when they get the car keys. That's really the only plot reason for this scene. The character, though, aspect of the subtext of it. The- what it says about Kara Thrace, I think is fascinating. And there's something great about the fact that at the end of this scene, all they do is sit there and rest and take a break, man. 'Cause these guys have been on the run. And they've been on the run pretty much since the the pilot. They haven't had a lot of breaks. And it's unusual just to show your heroes on television taking a break. It's like, seldom can they just relax. I love the fact she sits on the [[Arrow of Apollo\|arrow]]. I don't think that was scripted. I'd love to take credit for it. I don't think it was was. I think that's just Katee being Katee and doing something cool. And Tahmoh sitting down with her and- you expect him to be going, "Come on Kara. We gotta go. We gotta go." And he's not. He's just- he's giving her the space. He's giving her the moment. This is her house. This is where she- her- where she's from. And it's the first time any of them have been back to a familiar place. We did talk about, in the first season, that maybe [[Karl Agathon\|Helo]] would go through his old town on- in his journey and we talked about that extensively and we never really got around to it or spent that screen time. And I'm glad that we saved it for this. There's- somehow, it's more meaningful that Kara- I'm more- I'm just more interested in getting into Kara's apartment, really. After having spent all this time with her and seeing where she came from and where she lived and what it said about her. And I love this whole little bit. I mean, I'm sorry to just keep saying how much I love it, but I do- the first time I saw this cut, this scene cut, I just was really moved by it. I was really touched by it, and it really meant something to me. It meant a great deal. It said that the show was really going into some really interesting areas and was doing things that I had always hoped the show would do. This one is a marker. This is- I have sense of personal achievement with this particular scene 'cause I think it really says something about this series and these characters and this world, and I'm just very proud of it.

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3]==

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	I'm shutting the door, in case you're wondering what all the creaking is, just so it doesn't bother you all at home and your sensitive ears on your [[Wikipedia:iPod\|iPods]]. I wouldn't want you to drive off the road as you hear the traffic from my house or something.		I'm shutting the door, in case you're wondering what all the creaking is, just so it doesn't bother you all at home and your sensitive ears on your [[Wikipedia:iPod\|iPods]]. I wouldn't want you to drive off the road as you hear the traffic from my house or something.

	—in any case, now we're down here in the [[brig]] with [[Laura Roslin\|Laura]]. Again, a lot of this, the structure of "[[Valley of Darkness]]" went through a lot of changes and permutations. At what point do you cut to Laura? At what point do you pick up Lee again? Whose point of view are you taking? There was a lot of just complicated editing. What is the tone of the piece? Is this story on ''Galactica'' of the Cylons running amok in the corridors, is it a haunted house movie? Or is it something more like [[Wikipedia:Aliens (film)\|Aliens]]? And trying to strike the balance of those two ideas took up a great deal of time, and a lot of sort of playing around in editing in terms— in every aspect, in terms of how long you're in a particular scene, how much air there is in a scene, that is, how much time, gaps between dialogue, are you building suspense, what kind of music are you using, what's the sound design in the background— we had a lot of discussions about "how much gunfire should you hear in the background of all these shots?" And we felt that it was important that you kept hearing distant gunfire, so that you knew there were battles out there being fought in the passageways and corridors, even though we weren't showing them. And we're not showing them because we're following a very specific story. You're following the storyline of Lee and his team, and you're following Laura, and her people. And you don't want to constantly be giving away where the bad guys are. You don't want to constantly just be showing Centurions mowing down ''Galactica'' crewmen— as much fun as that would be— because that doesn't really help you tell the story. You want— the story you're following is: "where are the Cylons?" and "where could they be," and "they could be around any corner."		—in any case, now we're down here in the [[brig]] with [[Laura Roslin\|Laura]]. Again, a lot of this, the structure of "[[Valley of Darkness]]" went through a lot of changes and permutations. At what point do you cut to Laura? At what point do you pick up Lee again? Whose point of view are you taking? There was a lot of just complicated editing. What is the tone of the piece? Is this story on ''Galactica'' of the Cylons running amok in the corridors, is it a haunted house movie? Or is it something more like [[Wikipedia:Aliens (film)\|''Aliens'']]? And trying to strike the balance of those two ideas took up a great deal of time, and a lot of sort of playing around in editing in terms— in every aspect, in terms of how long you're in a particular scene, how much air there is in a scene, that is, how much time, gaps between dialogue, are you building suspense, what kind of music are you using, what's the sound design in the background— we had a lot of discussions about "how much gunfire should you hear in the background of all these shots?" And we felt that it was important that you kept hearing distant gunfire, so that you knew there were battles out there being fought in the passageways and corridors, even though we weren't showing them. And we're not showing them because we're following a very specific story. You're following the storyline of Lee and his team, and you're following Laura, and her people. And you don't want to constantly be giving away where the bad guys are. You don't want to constantly just be showing Centurions mowing down ''Galactica'' crewmen— as much fun as that would be— because that doesn't really help you tell the story. You want— the story you're following is: "where are the Cylons?" and "where could they be," and "they could be around any corner."

	Now we're back on Cylon-occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This storyline from henceforth on Caprica is really one of my favorites in the whole series. I love this particular shot of them walking down the alleyway— this is obviously Vancouver. And this was really funny for a long time in dailies and in editing, because right behind [[Kara Thrace\|Kara]] down that alleyway there used to be cars going back and forth— it's a busy street. There were cars constantly crossing back behind them. And she used to talk about where all the dead bodies are, and there was a line coming up later that I think we actually cut where she says, "Where's all the cars?" and you could see the cars, like, behind her.		Now we're back on Cylon-occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This storyline from henceforth on Caprica is really one of my favorites in the whole series. I love this particular shot of them walking down the alleyway— this is obviously Vancouver. And this was really funny for a long time in dailies and in editing, because right behind [[Kara Thrace\|Kara]] down that alleyway there used to be cars going back and forth— it's a busy street. There were cars constantly crossing back behind them. And she used to talk about where all the dead bodies are, and there was a line coming up later that I think we actually cut where she says, "Where's all the cars?" and you could see the cars, like, behind her.