Editing Richard Hudolin

{{Crew Data
| image=Richard Hudolin.jpg
| role=Production Designer
| series=RDM
| born_month= 
| born_day= 
| born_year= 
| death_month= 
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| nationality=
| imdb=0399750
| sortkey=Hudolin, Richard
|series 2=Caprica}}
'''Richard Hudolin''' is a production designer on the [[Battlestar Galactica (RDM)|Re-imagined Series]] and ''[[Caprica (series)|Caprica]]''.

==Career and Background==

Richard Hudolin is a veteran production designer who worked on the opening five seasons of ''[[w:Stargate_SG-1|Stargate SG-1]]'', designed the [[w:Eighth Doctor|Eighth Doctor]]'s [[w:TARDIS#TARDIS console|TARDIS set]] in the 1996 [[w:Doctor Who (1996 film)|television movie]], and various other film and TV projects before joining ''[[Battlestar Galactica (TRS)|Battlestar Galactica]]''. He was suggested for the role by the miniseries' director, [[Michael Rymer]], following their previous collaboration on the short-lived fantasy series ''Haunted''.<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=136}}</ref>

Hudolin was hired to head ''Battlestar Galactica'''s design team in December 2002, just as the miniseries entered pre-production.<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=136}}</ref>

==Design Philosophy and Approach==

===Realistic, Non-Futuristic Vision===

"The producers really wanted us to do something people had never seen before," explains Hudolin. "They made it clear that this wasn't a redesign or update of the [[Battlestar Galactica (TOS)|original show]], and that we shouldn't use any of the conventions you normally see in science fiction. We were then left to come up with a completely new vision of life in space."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=136}}</ref>

Working from executive producers [[Ronald D. Moore]] and [[David Eick]]'s request for a realistic, submarine-like environment that they described as "''[[w:Das_Boot|Das Boot]]'' in space" and the script's description of ''Galactica'' as a relic from [[Cylon War|the Cylon War]], Hudolin primarily drew on real-life [[w:World_War_II|World War II]] submarines and aircraft carriers to conceive the interior of the ship.

"The interior design of ''Galactica'' deliberately avoids the futuristic look of other shows," he notes. "We didn't do futuristic screens or sliding doors. There's a mix of old and more modern technology on display, but there's nothing that's really state of the art. We combined retro items like the old-style telephones and maps you would see on 1940s battleships with computer screens and other elements from the 1980s and 1990s. That gives everything a degree of familiarity to the audience, and also constantly reminds viewers that the ''Galactica'' is an old ship that's out of date and dependent on old technology."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=136}}</ref>

==Major Design Achievements==

===[[Combat Information Center]] (CIC)===

One of Hudolin's earliest and most important creations for the production was the [[Command Information Center]] (CIC), which served as ''Battlestar Galactica''{{'|s}} answer to [[Star Trek|''Star Trek''{{'|s}}]] bridge set. "When we started talking about doing something that was completely different, we all knew we wanted to stay away from using a main viewing screen and a captain's chair," recalls Hudolin. "So I started thinking about making the control room a bit like a hospital operating theater, with Adama at the center of the room and all of his crew around him. That was a way of allowing us to work in multiple directions and on multiple levels, rather than having everyone standing together looking in one direction at the screen all the time."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=137}}</ref>

"I then came up with the idea of placing a [[DRADIS console|moveable array of screens]] that come down from above at the center of the room. The screens function a bit like a periscope on a ship. A lot of people weren't sure that idea would work when I initially suggested it, but the periscope concept just worked like a charm. Once people saw it, they loved it. And it's given us a lot to play with."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=137}}</ref>

[[Edward James Olmos]] particularly appreciated Hudolin's work on the CIC: "I've got to tell you, Edward James Olmos loves going into that room and doing his scenes there," adds Hudolin with pride. "Edward is a fantastic guy. When he first saw that room he just loved it."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=137}}</ref>

===''Galactica''{{'|s}} Interior Design===

"The [[Hangar deck|hangar]] is very much like what you would see on an aircraft carrier," notes Hudolin. "I deliberately designed the hangar in a way that the set could be extended using visual effects, to show just how massive the ship is. When the live-action footage is blended with shots of the ships moving around in the background, it really gives viewers a sense of the enormity of the ship."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=137}}</ref>

For the crew quarters, Hudolin drew inspiration from submarine design: "The [[Duty locker|crew quarters]] were more influenced by life on a submarine, in terms of how the crew have to sleep jammed in together because space is at such a premium. The crew quarters are small and cramped, and I tried to give them a claustrophobic feeling, because I saved the more epic designs for the ship's military elements — as the ''Galactica''<nowiki/>'s primary function is to be a battle ship."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=138}}</ref>

"We wanted the ''Galactica''<nowiki/>'s corridors to have a monumental feeling, to reinforce the idea that it's a big ship. The corridors have a truncated pyramid style and there's a Cathedral-like feeling to them. I actually designed a variety of corridors for the show — some are wider and higher than others, which means we can accommodate how many people are in a particular scene. So there's an interesting balance between the show's epic feeling and its claustrophobic elements."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=138}}</ref>

===Commander Adama's Quarters===

Another frequently-visited location aboard ''Galactica'' was Commander [[William Adama|Adama]]'s [[Officer's quarters|private quarters]]. "We really wanted that set to reflect Adama's character," reveals Hudolin. "When he's in the CIC or anywhere else on the ship, he's the commander and that's it. But when he's in his room, we get a chance to express where Adama has been in the past, how he thinks and what he likes. It's an opportunity to show the humanity of the man and show more about who he is."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=138}}</ref>

Commander Adama's personal quarters featured a [[Monclair|striking painting of the Cylon War]]. The picture was painted by ''Battlestar Galactica'''s additional art director, [[Ken Rabehl]], and was loosely inspired by a US National Archives photo of soldiers raising the American flag after the [[w:Battle_of_Iwo_Jima|Battle of Iwo Jima]] in 1945, as well as various old lithographs. "That was actually the last thing Ken did on the [[miniseries]]," recalls Hudolin. "We had a week left of his time and so I said to him, 'I want you to do me a painting of the Cylon War.'"<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=138}}</ref>

===Colonial One===

Away from ''Galactica'' itself, ''Battlestar Galactica'''s primary recurring set was the interior of ''[[Colonial One]]''. This particular design was heavily influenced by the work of [[w:Harry_Lange|Harry Lange]]. "Harry was one of the designers on ''[[w:2001:_A_Space_Odyssey|2001]]'' and at one point he also worked for NASA," explains Hudolin. "I worked with Harry many years ago, and ''Colonial One'' was something of a homage to Harry and what they did with the space shuttle in 2001."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=137}}</ref>

===Vehicle Design===

As Hudolin had just over three months to complete the production design for the [[Miniseries|''Battlestar Galactica'' miniseries]] in preparation for the start of shooting, he knew that he wouldn't be able to personally devise all the exteriors of the show's ships as well as design all of the production's sets. Hudolin solved this particular problem by charging visual effects supervisor [[Gary Hutzel]] and his team with the task of designing the exteriors of most ships, while personally focusing on specific vehicles.

"There just wasn't time for me to design the exteriors of the ships apart from the [[Raptor]] and the [[Mark II Viper]]," says Hudolin. "So I said to Gary, 'Look, here's what I'm doing — follow my lead.' We then worked very closely to ensure everything we did matched. For example, with the interior of ''[[Galactica (TRS)|Galactica]]'', we ensured that the ship's exterior ribbing was also visible in its hallways."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=138}}</ref>

Despite some minor tweaks from Hudolin, the new show's Mark II Vipers remained very similar to the [[Viper (TOS)|Vipers featured in the original series]]. "The original Viper is a gorgeous ship, so we stayed pretty close to the original design," says Hudolin. "We just helped it by making the nose a little longer and smoothing a few lines out."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=139}}</ref>

The interior and exterior of the Raptor was personally designed by Hudolin. "The Raptor is basically a [military transport helicopter]," he explains, emphasizing its utilitarian design philosophy.<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=142}}</ref>

===Cylon Ship Interiors===

The [[Season 1 (2004-05)|first season]] presented Hudolin with an opportunity to explore the [[Cylons (RDM)|Cylon]] world in greater depth, as it required him to design the interiors of both a [[Raider (RDM)|Raider]] and a [[Basestar (TRS)|Basestar]]. Hudolin attempted to ensure that these designs were in keeping with everything that had previously been revealed about the robot race. "We knew that some Cylons were more evolved than others, and I felt the ships were somewhere between the mechanical [[Cylon Centurion|Centurions]] and [[Number Six]], who is pretty much organic. So I figured the ships had evolved to a point where they were part-mechanical, part-organic units. I started to integrate biomechanics with the human form and gave the interiors of the ships an element of muscular skin and bone."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=140}}</ref>

==Production Challenges and Solutions==

===Studio Transitions===

The miniseries was shot on three soundstages at Vancouver's [[w:Lions_Gate_Studios|Lions Gate Studios]], as well as at various locations in and around Vancouver. Hudolin's most impressive accomplishments on the [[miniseries]] included designing the massive [[CIC]] set and ''[[Galactica (TRS)|Galactica]]'''s hallways to all fit on one soundstage, which enabled the miniseries' introductory tour of life on the ship. "We could do that because we had a stage that was about 200 feet long by 100 feet wide," reveals Hudolin. "The corridors were basically designed in a figure eight to intersect at a hub, and you literally could go from the CIC through the hallways and back again."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=142}}</ref>

The show relocated to [[Vancouver Film Studios]] for its transformation into an episodic series. "The move required a lot of changes," recalls Hudolin. "The biggest stage at Vancouver Film Studios is 110 feet square, so we had to split the main set and slightly redesign a few things. But I don't think viewers would notice any differences. The only real difference it makes to the production is that we couldn't do a continuous tour of the CIC and the hallways like we did in the miniseries."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=142}}</ref>

===Location Changes===

Another minor change concerned the real-life Vancouver building that doubled as [[Gaius Baltar|Baltar]]'s house. "We couldn't use the same house we used in the miniseries for the series, so we just went up the road to a different place that also overlooks the Pacific Ocean," reveals Hudolin. "The new place has two storeys, but other than that we made it look as similar to the original apartment as possible. It's hard to tell that Baltar's apartment is different between the [[miniseries]] and [[Season 1 (2004-05)|season one]]."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=142}}</ref>

==Design Details and Innovations==

===Corner-Cutting Papers===

One of ''Battlestar Galactica'''s most subtle design motifs is the lack of corners on most of its printed documents and books. "That's something that came out of a discussion between myself, [[Michael Rymer]] and [[David Eick]]," reveals Hudolin. "We were trying to come up with ways of making ''Galactica'' look different and unconventional, and we decided that certain papers would have clipped corners."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=142}}</ref>

==Caprica==

For the ''Caprica'' pilot, Hudolin was praised for his work on the various sets, including the intricate design of the [[V-Club]]'s inner cathedral room.<ref>[[Podcast:Caprica pilot|Podcast for ''Caprica'' pilot]], timestamp 00:08:35</ref> His attention to detail extended to small elements of world-building; for instance, he consulted with executive producer [[Ronald D. Moore]] to name the school seen in the episode "[[Wilson Elementary School|Wilson Elementary]]," after the junior high school Moore himself had attended.<ref>[[Podcast:Caprica pilot|Podcast for ''Caprica'' pilot]], timestamp 00:29:54</ref>

==Legacy and Assessment==

Richard Hudolin's pride in his work extended to everything he and his colleagues achieved with ''Battlestar Galactica'' during its opening adventures, and he was especially proud of the way the show fulfilled its producers' request for something memorable and completely different.

"I think we've done pretty well on this show," states Hudolin. "It's been a constant challenge to come up with unique ideas, but I'm working with great people and I think we've achieved a very nice level of design. Everyone seems really happy with it. The viewers certainly seem happy with it, and that's the most important thing."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=140}}</ref>

==References==
{{reflist}}

[[Category: A to Z]]
[[Category: Behind the Scenes]]
[[Category: Crew]]
[[Category: Crew (RDM)]]
[[Category: Former Stargate Cast and Crew]]
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@@ Line 72: / Line 72: @@
 The [[Season 1 (2004-05)|first season]] presented Hudolin with an opportunity to explore the [[Cylons (RDM)|Cylon]] world in greater depth, as it required him to design the interiors of both a [[Raider (RDM)|Raider]] and a [[Basestar (TRS)|Basestar]]. Hudolin attempted to ensure that these designs were in keeping with everything that had previously been revealed about the robot race. "We knew that some Cylons were more evolved than others, and I felt the ships were somewhere between the mechanical [[Cylon Centurion|Centurions]] and [[Number Six]], who is pretty much organic. So I figured the ships had evolved to a point where they were part-mechanical, part-organic units. I started to integrate biomechanics with the human form and gave the interiors of the ships an element of muscular skin and bone."<ref>{{cite book|author=David Bassom|title=[[Battlestar Galactica: The Official Companion]]|year=2005|publisher=Titan Books|isbn=1845760972|page=140}}</ref>
-===Season 3 Basestar Design===
-For [[Season 3 (2006-07)|Season 3]], Hudolin expanded his vision of Cylon ship design when creating new interior spaces for the [[Basestar (TRS)|Basestar]].<ref group="production" name="bsg_mag_7_hudolin_p21">{{cite magazine|magazine=Battlestar Galactica: The Official Magazine|issue=7|pages=21|date=October/November 2006|publisher=[[Titan Magazines]]|title=Base of Operations: Production Design|author=Tom Reeve}}</ref> Building on the biomechanical concept established in Season 1's "[[You Can't Go Home Again]]," Hudolin developed distinct zones within the Basestar: a more biological landing area that reflected the ship's organic nature, and a smooth, elegant interior reflecting the aesthetic sensibilities of the humanoid Cylons.<ref group="production" name="bsg_mag_7_hudolin_p21"/>
-Drawing inspiration from biological forms and religious architecture, Hudolin created the [[Hybrid]]'s chamber and various corridors and meeting spaces that would serve as key locations throughout the season.<ref group="production" name="bsg_mag_7_hudolin_p22_23">{{cite magazine|magazine=Battlestar Galactica: The Official Magazine|issue=7|pages=22-23|date=October/November 2006|publisher=[[Titan Magazines]]|title=Base of Operations: Production Design|author=Tom Reeve}}</ref> The Hybrid's room was designed with soft edges, square lighting, and a dark color scheme, featuring the Hybrid in a pool of milky white water.<ref group="production" name="bsg_mag_7_hudolin_p23">{{cite magazine|magazine=Battlestar Galactica: The Official Magazine|issue=7|pages=23|date=October/November 2006|publisher=[[Titan Magazines]]|title=Base of Operations: Production Design|author=Tom Reeve}}</ref> These spaces felt simultaneously technological and spiritual, reflecting the Cylons' unique perspective on existence and their complex religious beliefs.<ref group="production" name="bsg_mag_7_hudolin_p22_23"/> This design philosophy reinforced the series' portrayal of the Cylons as beings who blurred the line between the mechanical and the organic, the technological and the theological.
 ==Production Challenges and Solutions==
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 ==References==
 {{reflist}}
-==Production References==
-{{reflist|group=production}}
 [[Category: A to Z]]