Sources:Dial the Gate - Tiffany Lyndall-Knight Interview

Original Source: https://www.youtube.com/watch?v=lkMlhmx8vGY

DAVID REED: Hello everyone. My name is David Reed, and welcome to episode 188 of Dial the Gate, the Stargate Oral History project. Thank you so much for joining me on this Thursday. Tiffany Lyndall-Knight, who played Lamour and Ivala in Stargate SG-1, is joining us for this episode. Before we bring her in, if you enjoy Stargate and you want to see more content like this on YouTube, click that Like button. It makes a difference with the show and will help us grow our audience. Please also consider sharing this video with a Stargate friend. And if you want to get notified about future episodes, click the Subscribe icon and giving the Bell icon a click will notify you the moment a new video drops, and you'll get my notifications of any last-minute guest changes. And clips from this live stream will be released over the course of the next few weeks on the Dial the Gate and GateWorld.net YouTube channel. Since this is a live show, I have my moderators in the YouTube chat standing by for your questions for Tiffany. So you can go ahead and submit those to the moderating team, and they'll get them over to me. I believe today it is Tracy and Anthony, so I appreciate them joining us. But before we get into this any further on the fan end, I'm going to go ahead and bring in Tiffany Lyndall-Knight, known actually more commonly among the sci-fi community as the Cylon Hybrid, but we know her as Lamour and Ivala in Stargate SG-1. How are you? [00:00:00 - 00:01:21]

TIFFANY LYNDALL-KNIGHT: I'm very well, thank you. Nice to be chatting with you today. [00:01:22 - 00:01:24]

DAVID REED: Nice to be chatting with you as well. So, you are in Australia now, but you said you were originally from, were you born in Australia? Were you born in Canada? You didn't tell me that. [00:01:25 - 00:01:36]

TIFFANY LYNDALL-KNIGHT: Canada, Canada originally, and then Australia for but I'm a hybrid now. I'm 50/50. [00:01:36 - 00:01:40]

DAVID REED: That's it, exactly. How did you get involved in this profession, Tiffany? What was it that drew you to it? [00:01:40 - 00:01:44]

TIFFANY LYNDALL-KNIGHT: Oh, probably like a lot of people, I was a bit of a misfit, I guess, and theater was the place where I felt like I belonged. The first film that I saw that really inspired me. I'm really revealing my sci-fi roots. It was Star Wars, and I wanted to be Han Solo. I remember I was like five years old or seven years old, and my dad took us to the theater, and I was holding the armrests of my seat and imagining that I was in the Millennium Falcon, scary boy. So, yeah, and then when we moved, I moved to Australia when I was nine years old, and my parents had divorced, so it was quite a detachment from home, and I had a different accent, and I didn't really feel like I had belonged in Australia in that world, and theater was the first place where I sort of found my tribe. [00:01:44 - 00:02:29]

DAVID REED: Okay. Was that grade school? Was that high school? [00:02:29 - 00:02:31]

TIFFANY LYNDALL-KNIGHT: Yeah, that was. I did a little play in primary school which made people, I made people laugh, and that was a real revelation. And then it was high school. I went to a girls' school, all girls' school, and they let us audition for a musical. It was a Funny Thing Happened on the Way to the Forum. Yeah, I've seen that. It's great. It's funny. Yeah, yeah, yeah. Third time around. I got to play one of the courtesans. I was part of the Gemini Twins, and you think now, like, my God, a bunch of high schoolers playing, you know, not the most appropriate thing. It's a pretty wild play for high school. Oh, my God, yeah, yeah, yeah. But we went to a music camp, and that was it. I was just, I was home. [00:02:32 - 00:03:00]

DAVID REED: There is something about getting in front of a live audience and sharing that energy. It's a completely different set of tools than working on a closed set with a bunch of cameras and hitting your marks and getting a specific line of dialogue out and going through it again and again, though, you can't beat the live audience, you know, you can't beat that experience. There is an energy there that is intoxicating. [00:03:00 - 00:03:22]

TIFFANY LYNDALL-KNIGHT: I totally agree with you. I totally agree. And that was my love. Yeah, and like, film and television really was, for me, a means to an end, so I didn't really, we didn't get a lot of training in film and television when I was at theater school, and I really only started doing it because I had children, and you couldn't really make a living as a theater actor. I was in Vancouver by that stage, and working a lot in theater, which was great, but once I had a baby, I didn't want to be away from them and go into debt just to do my craft. So, yeah. That's right. And you know, Vancouver is such, was, still is, I guess, such a great place to work in film and television as well as theater, so I learned on the job. Absolutely. I really learned on the job. [00:03:22 - 00:04:15]

DAVID REED: Who are your personal and professional heroes? Who are the people who have helped to shape you into the person that you are, if that's not too personal? [00:04:15 - 00:04:26]

TIFFANY LYNDALL-KNIGHT: Gosh. What a big question. The people who shaped me, who I am. Probably, it sounds a bit corny, but I would say my dad first and foremost. He worked for Kodak Canada. He was the head of Corporate Communications for Kodak Canada, and I only found this out, like, this year when I went back to visit him after COVID, but he was a great communicator. He was able to talk to audiences of, he was, it was like the Mad Men world, I realize now. But he was able to sort of pitch an idea about the importance of storytelling to, and the importance, particularly, of photography in the domestic sphere. And so, excuse me, when we moved to Australia, and my dad was in Canada, he felt very strongly about the importance of continuing our relationship through communication. So, we would write letters on a regular basis, but we also made tape recordings. And so, I think I learned how to talk about daily life and make that an interesting story, and to talk about emotions through from a very early age with him. So, and he was the one that actually, when I went back to Canada, because I didn't get into the theater school I wanted to here, and so, I went to Canada for ostensibly for six months, but I found a theater school, and it was great, but it was much harder than I expected it to be, and I was ready to quit a couple of times, and he said, you know, you're not a quitter. And this is a huge, yeah. And he said this is a huge industry, and there's a space for everyone in it. So, that was a pivotal moment for me. And he was right. [00:04:26 - 00:06:26]

DAVID REED: Yeah. It's, I think one of the things that frustrates me about my current job. I apologize for the dogs, that frustrates me about my current generation is if it doesn't work in like just a few short months, if I'm not getting a corner office or getting exactly what I want, just quit. It's easier. Yeah. You know, and plus, this is making me anxious, anyway. It's like, if you don't really push yourself, you know, who knows just how far you can go, if you want it badly enough. And we need more of that, you know. [00:06:26 - 00:06:55]

TIFFANY LYNDALL-KNIGHT: Well, yeah. And you know, that's funny you say that, because another person who I didn't know well, but I keep in my mind, and I teach my students, because I teach a lot now, is Jerry Wasserman, who is, you would probably know him as Cancer Man on X-Files. Yes. And a great, great actor. Yes. And done some Stargate, of course, some Stargate. But I remember going to an audition one year, it was January, it was quiet, and I saw Jerry there, and he's a lot older than me, but you know, esteemed, and he said, how are you going? I said, God, Jerry, I'm not booking anything. He said, oh, not me, either. He said, but you got, you know, enough shots on goal, one eventually is going to get into the net. And that hockey analogy for a Canadian really made sense to me, you know, you just have to keep on trying, and eventually, it'll get in the net. You'll, yeah, so. [00:06:55 - 00:07:35]

DAVID REED: Absolutely. That one, I remind myself of. Well, it's good advice, you know. What is it? Was it Gretzky who said, you missed 100% of the shots you don't take. It's so, it's so cliché, but it's so true, you know, you have to try. And fail, and fail again. [00:07:35 - 00:08:04]

TIFFANY LYNDALL-KNIGHT: Yeah, but as long as you're, as long as it's not doing the exact same thing again and again, hoping for a different result. Yeah. [00:08:04 - 00:08:07]

DAVID REED: Tell me about a role that pushed you, perhaps in ways that you didn't expect, or that helped shape who you are. [00:08:07 - 00:08:14]

TIFFANY LYNDALL-KNIGHT: I guess that would be a project that I did in 2016, 2017. It was a solo show called, it was a theater piece originally called 19 Weeks. And it was written by a close friend and a colleague of mine here in Adelaide named Emily Steele. And this is a piece about her experience of having a late-term abortion after she had a diagnosis of a genetic abnormality. Yeah. And she's a friend of mine, and I was with her through that whole experience as a friend. And then, afterwards, she said, I need to write about this, because I don't have any touchstones for how to navigate this. There's no one talks about it, and I feel so alone. I need to articulate that experience. Would you play me? So, I said, of course, I'd be honored. And it was terrifying. And the director and Emily decided to stage it in a swimming pool. So, because, you know, the notion of an abortion play is a terrifying proposition, and the thinking was, staging it in a pool is a novel approach that might draw people in so that they can think through this concept in a slightly different way. And it was an incredible experience. The audience would actually take their shoes off and roll up their pant legs and sit on the edge of the pool with their feet in the water, and I was in the water. So, we were literally immersed in the same experience and sharing this experience. And it's toured around Australia. We actually turned it into a screened version of the theater piece with funding from Screen Australia, or from Australia Council, to tour it to Edinburgh. But COVID happened, so they let us film it. And I actually ended up writing my PhD about that project. So, wow. Yeah. So, really, you know, looking at the tension between women's rights and disability rights is a really big thing to grapple with that piece of theater. And it's had a pretty extreme impact on me in my career and as an artist, but more to the point, it's had a huge impact on audiences, and we've had a lot of people come up to Emily afterwards and say, you know, thank you so much. I've had no one be able to articulate what I'd been through before. So, not without controversy, but, yeah. [00:08:15 - 00:11:43]

DAVID REED: Well, I mean, you have those stories have to be allowed to be told, you know? I don't care what side you're on or what kind of issue it is, you know? People have to, what is, that's what free speech is all about, being able to share the controversial ideas for the ideas that everyone accepts. It's not what free speech is for, you know, or what art is for. Yeah. Very good. Yeah. It's designed to move someone, so. [00:11:43 - 00:12:05]

TIFFANY LYNDALL-KNIGHT: That's right. That's crazy. [00:12:05 - 00:12:07]

DAVID REED: So, this was filmed. Is there any way that we can watch it? [00:12:07 - 00:12:10]

TIFFANY LYNDALL-KNIGHT: Well, we are in the process of looking for distribution channels right now. [00:12:10 - 00:12:13]

DAVID REED: Okay. Yeah, so stay tuned. Absolutely. Please keep me in the loop, because that would be something. Is it 90 minutes? How long did the performance run? [00:12:13 - 00:12:20]

TIFFANY LYNDALL-KNIGHT: It's 70 minutes. Yeah. [00:12:20 - 00:12:22]

DAVID REED: Okay. I got pretty wiry doing that show. Yeah. [00:12:23 - 00:12:25]

TIFFANY LYNDALL-KNIGHT: We rehearsed in a completely unheated pool, and so I was in a wetsuit, which it seems like a lot of my career is involving water, I realize as I say that. [00:12:25 - 00:12:35]

DAVID REED: That's true. We'll get to the Hybrid in a little bit. Thank you for sharing that story. That's so poignant. Tell us about Lamour. You brought up the word touchstone, which I thought was very interesting. It's not exactly a common word that I hear on this channel, and it was in your brain, so I think we need to go to Lamour now. The daughter of, I forget what he was. He was her father, Roham. And it was a woman. Yeah. He used the, he was able to, he was blind, and he was able to use the touchstone. Tell us about that. [00:12:35 - 00:13:38]

TIFFANY LYNDALL-KNIGHT: Oh, that was my first TV job. That was my first professional gig, actually. Yeah. So, we're going way back now. So, I really didn't know what I was doing in terms of film and television at that stage. So, it was a great, it was an amazing opportunity for, because, really, a challenging set, you know, in terms of, it was, I think it was green screen, and we had the fake snow, and we had, you know, handling heavy objects and working with highly esteemed actors I'd seen on television. So, I was pretty terrified. It's like I said, it's a long time ago, so some of the things that I remember from that are, they spray-painted my body so that I was tanned, because, you know, Canadian. And right. And they had incredibly long hair piece that was new. Richard Dean Anderson was very, very charming. His wife had just had a baby, so he had like a six-week-old, so the set was sort of buzzing with that. But the thing I really remember the most was Amanda Tapping from that, really. Yeah. I don't think I had any scenes with her, but I remember being at craft services with her, and she was so gracious and really took me under her wing and was very honest about this industry I was about to get involved in. And I remember her talking about some of the challenges. She said, you know, when she first started on one of her first shows, when she was at craft services, someone said, you know, watch what you're eating, we've got to be careful with you and your shape. And I've watched her career from afar and been so impressed with what she's done as a director. She's a highly respected director, so she was a bit of a role model for me through that process. [00:13:38 - 00:15:35]

DAVID REED: Yeah. She's a wonderful, genuine human being, in an industry where we're seeing more of that now. People being able to open up. But yeah. She, I can't think of anyone more genuine from Stargate that I've had the privilege of meeting and talking to. And there's something about her, man. And you know, she has earned every single accolade, and she deserves it. So, she's done great for herself. [00:15:35 - 00:16:03]

TIFFANY LYNDALL-KNIGHT: Yeah. I found her. Yeah. She was a real role model. Yeah. Just to see how she navigated that notion of being the ingenue or the young woman on the show into realizing herself as a powerhouse, fully thinking maker in the industry. So. Absolutely. That was a great first experience. And I got to buy my first car as a result of Stargate. Hey, there we go. I had not had a car to that point, and I bought myself a Mazda RX-7, bright red, with the headlights that popped. So, that was the Stargate car for years. [00:16:03 - 00:16:47]

DAVID REED: Oh, that's great. How was the blue screen or the green screen experience and having the snow thrown at you and, you know, we go to check in on this planet a couple of times to see how they're doing, and it gets worse and worse on them. [00:16:47 - 00:17:02]

TIFFANY LYNDALL-KNIGHT: Yeah, it was, you know, it was so different from doing theater. Well, I say that, it was so different from theater, but I had done a lot of Shakespeare at that point. That was what I was really, I was working with the theater company in Vancouver. So, actually, when I think about it, that father-daughter relationship is a little bit like Prospero and Miranda, you know, and dealing with the Tempest. Exactly. I was a little familiar. Yeah, yeah, yeah. But I remember, yeah. The snow was like the hot wind of them blowing the snow in your face, and that which tasted like soap, or it was like dried baby biscuits, like, it was foamy. So, you really did have to invest in your imagination to, the wind was easy to react to, but the hot, dry wind was not winter at all. [00:17:02 - 00:17:49]

DAVID REED: What was the idea that the whole episode hinges on this device that manipulates the weather? Was this like, oh, that's ridiculous. I'll do the role, though, but that's just ridiculous. Or think of a planet that was manipulated by this device. That's an interesting idea. What were your thoughts on that? [00:17:49 - 00:18:04]

TIFFANY LYNDALL-KNIGHT: I don't think, I mean, it was such a beautiful object going back and thinking about it, that touchstone. So, I think it felt more like fable than anything else, you know. Of course, you think about it now, like, magical devices that can control the world. Like, hey, welcome to Chat GPT, you know. It wasn't that far away. It was, yeah. If only we could control our climate with an object. Gosh, I hadn't really thought about it since then, but the practicalities, I was still so young in my career, like, I don't think I thought through the nuances of that as much as like, oh, God, don't drop it with all of these people watching me, you know. There's probably one backup. Don't drop it. There's no backup. [00:18:05 - 00:19:01]

DAVID REED: Oh, that's funny. You came back five years later as Evala. The spouse of Christopher Heyerdahl's character, Palin, in an episode of SG-1 called Revisions, which is also, I think, more and more relevant as we move forward. You guys found this planet had a device which rewrote your memories based on the circumstances surrounding the dome that was continually collapsing and continually murdering citizens of this planet. And Evala, she just packs up her things, and she moves out, and it's like, it was such a wild idea. Tell us about coming back after five years, seeing some familiar faces, and playing that role. [00:19:01 - 00:19:44]

TIFFANY LYNDALL-KNIGHT: It's funny. Touchstone is obviously the one I really remember most clearly, because it was my first proper gig, and I had played daughters, you know, that archetypal relationship, father-daughter, before in theater quite a few times. And Evala, I have fewer memories about, to be completely honest. It was five years later, so I think I was probably, I hadn't had children yet, but I was getting close, so it was, and that was about being a mother, that role actually, now that I think about it. Evala, did she have children? I don't think that they did. Let me double-check. No. She was just married to Palin, Chris Heyerdahl's character. Okay. Yeah. And they had the link devices on their temples. Yeah. That was the interesting part. I mean, it was so thrilling to be able to come back to a show that was so well-respected, and people love to work on that show. But to get the opportunity to play an entirely different character when everyone knows the arc of this was a great honor. So, and it was, I guess, also interesting, now that I think about it, five years later, a little bit older, to not be dressed, not be spray-painted, not be dressed in a bikini. And I look back at some of those stuff and go, wow, you know. Gosh, times have changed in the way we represent women on screen. And Evala was in, it wasn't about her body, it was about her journey in that story. And I think that's when I, I'm grateful that I had the opportunity to go back and tell a story that was more of a quest than a representation, like an empty representation of the ingenue. To grow in that way was a real gift. [00:19:44 - 00:22:42]

DAVID REED: Stargate as it went along, you know, it helped transform that town. And I'm not talking about P3X-289, the dome. I'm talking about Vancouver. It's wild watching, as I've had the privilege of going up and being there when they filmed over the years and just watching Vancouver grow, partly as a result of shows like Stargate and BSG. It just exploded. North Hollywood. It is an industry up there now with WB and all these CW and all these other programs constantly running. It is really an industry town. And you were there watching it transform. [00:22:42 - 00:23:25]

TIFFANY LYNDALL-KNIGHT: Yeah, sort of part of that. And you know, that's why it's been interesting to move to South Australia, which is a regional city, capital city, but very much a big country town. And I now I teach actors. That's what I primarily do at the moment. I'm a lecturer at a university here, and I focus in screen acting primarily. And you know, I realized how lucky I was to start my career in Vancouver, and be in a place where you can actually be, by and large, settled in one place and have a home as an actor, because that is absolutely not the reality for the vast majority of people, particularly in Australia. And absolutely, in South Australia. I mean, the reality is that if you want to have a career in the industry, you either have to have many, many strings to your bows and be a portfolio worker, as we say, or you have to be prepared to just be a nomad. So, I was very, it was a great time. It was, and it's a great city, so. [00:23:26 - 00:24:43]

DAVID REED: We'll see what happens with this actor strike. I left when there was, oh, you were the Writer's Strike. I beg your pardon, the Writer's Strike. It's going to be wild. Yeah. Some people are like, well, it's going to, they think it'll be over pretty quickly, and now people are like, I don't know, I'm not so sure. It's going to be interesting to see what happens, for sure. Yeah. How long have you been teaching? [00:24:43 - 00:24:58]

TIFFANY LYNDALL-KNIGHT: We've talked pretty much on and off through my career, little bits when I was in Vancouver. And then when I moved here, I met with some industry people when we were thinking about making the move, and I'm grateful to them, because they went, look, you're not going to have to, it won't be the same. So, I sort of made a decision that I'd done it. I played enough roles and done enough things that I was ready to challenge myself with something else. And I wanted to direct more, and I figured that the way I would find my way through directing is by teaching. And I had this strategy that if I taught people at a university level, once they graduated and they entered the industry, they'd hire me, or I'd get to work with them, and that's networking, you know. I would rather hire someone that I know can do the job than, and I mean, it says something about being able to take opportunities on unknowns as well. That's certainly the case. But making a connection with someone and coming back around to them later on your career, you know, that's a huge portion of what this industry is, you know. You want someone who can, collaboration. Right. Exactly. And I have found in my life that there is such a reward in sharing knowledge with someone who wants to obtain it and help it shape them and mold them in different ways as well. It's very satisfying. It is. It is satisfying. Yeah. I really, I think I'm a, I might be a better teacher than I am an actor. I think that I certainly think I'm a better teacher of screen acting than I am a screen actor. I've learned so much as a performer by having to deconstruct it and figure out how to communicate those ideas to another person. I really love that process. I really enjoy that process. And now I am directing more in screen, and I'm really enjoying that too. Tell us about that. Oh, so, I'm in the process of post-production for a web series that I'm directing, which is called Behind the Scenes, and it's a project Behind the Scenes, so it's about a woman who runs a vintage clothing shop, and her father has just died, and her mother brings all his clothes. Her mother's ready to move on with her life, and India, the central character, finds a photograph in one of the pockets of his clothes that opens up a whole unknown past to her. So, it's really a story of the sandwich generation women my age who are caring up and caring down at the same time. Caring for parents and for children. And that's woven through this story of slow fashion and upcycling and caring for our world by caring for our past. And it's been just such a delight to do. I'm working with crew members that I've worked with in Adelaide as an actor for many times. And so, now I'm, again, networking or collaboration, these colleagues have been so wonderful in supporting me as I create this world. And I got to tell you, I think every actor should direct if they get the opportunity, you know. Because as an actor, you get to make so many creative decisions in this sort of pathway, in this band. And then, when you direct, those choices just get to expand like this, and the joy of storytelling through all those different techniques and bringing together all these experts in their field is really, really exciting. [00:24:58 - 00:27:01]

DAVID REED: And being excited, oh, Go ahead. [00:27:01 - 00:27:02]

TIFFANY LYNDALL-KNIGHT: I was just going to say that's going to be distributed on Facebook Watch, actually. It's an online distribution initiative that Screen Australia has been doing, which is great. So, yeah. I'll let you know. Yes. So, it's like the next six months, you know. [00:27:02 - 00:27:14]

DAVID REED: Okay. June, July, actually, it's coming up. Oh, really soon? Okay. That's great. There is something so satisfying about, it's not being in control, it's being in the position of facilitating a story from all these different angles and sections, and watching it come together with a group of people that you've shepherded, and giving, it's like giving birth, you know? And it's so rewarding. It's, yeah. You've obviously done this in college. Yeah. It was one of the greatest experiences of my life, you know. The good and the bad. Totally, totally. And I think it's, you know, a little bit like, reminds me a little bit of a different reference. Katherine Janeway from Voyager, a bridge, like, every person, their expert is in their field, and the captain's job is really just to bring all these great minds together and just go, yes, we're navigating this direction instead of that direction. So, that's what I like about it. Are you a Voyager fan? [00:27:14 - 00:28:13]

TIFFANY LYNDALL-KNIGHT: Major, major. [00:28:13 - 00:28:14]

DAVID REED: Oh, man. It was so good. Yeah. There's some great callbacks in Star Trek: Picard Season 3. Oh, yes. It was fantastic. I haven't been watching that one. I haven't started Picard yet. I can't wait. Don't let him spoil you. Oh, no, no. There's some great Voyager, there's like 10 or 11 Voyager callbacks that resolve themselves very nicely. Because Jeri Ryan's had so. [00:28:15 - 00:28:29]

TIFFANY LYNDALL-KNIGHT: Oh, fantastic. Yeah. Oh, I know. And I'm watching Next. There you go. [00:28:29 - 00:28:32]

DAVID REED: Tell me about getting the gig for the Cylon Hybrid, which I imagine was probably not that prominent a thing at first. But Ron Moore went on to call the Hybrid Model Zero out of all the 12, well, potentially 13 models. What a cool experience. What a wet experience. [00:28:32 - 00:28:51]

TIFFANY LYNDALL-KNIGHT: Oh, it was a fantastic experience. Yeah. I was a huge fan of the show, already. Okay. And Alessandro Juliani is a very close friend of ours. He's my kid's godfather. So, we had a vested stake in the show, anyway. So, when I actually booked it, my second child, my daughter, was about six months old. So, I had two little kids. And I remember that the way I figured out how to play that character, because a couple of times, the writers came up and went, how do you learn all these lines? I was like, you guys wrote it, you know, come on. But I sort of imagined what it must be like to be in utero. That's what I thought the Hybrid was like. You know, she's floating in water, and she just gets all these signals floating around the world, around her. And in the cosmos, she is the ship. So, she's floating in empty space, right? Yeah. That's exactly right. That's right. So, I just imagined that I was channeling, like, if I was in utero, I was channeling all the things that I was hearing out there and just sort of putting them into a stream of consciousness. But I have to say that all the Shakespeare I had done, because I'd done about 12 shows at that stage, really helped me, because I just had to look at that text as poetry and find for myself those internal links and the symbolism and the backstory that is just sort of encoded into that text. So, that was the way I sort of found my way through. And then, yeah. I remember going on set for the first day, and just my heart just pounding, because I was, suddenly, it was like LARPing, you know, before they had the term, like, I was in it. You're doing the thing. [00:28:51 - 00:32:04]

DAVID REED: So, you look at the character as not just filtering random noise, you know? There are many spiritual components to that show, and I would argue that the Hybrid is a big one, if you consider that she's receiving information from places, like, wherever Kara went, you know. And there's, I was surprised that you would probably think that she's actually receiving, so, not just noise, like, background noise, but something much more real, yeah. That's probably a better word. [00:32:04 - 00:32:32]

TIFFANY LYNDALL-KNIGHT: Yeah. I think so. I think she's channeling things, and it's just up to the people who listen to decode it, really. She doesn't have the capacity. Like, a baby, you know, I think that babies understand a lot, but it takes them time to learn how to find the language to communicate that, but they hear it all. They understand it. They just, it takes time for them to articulate or process it and communicate that. And so, I think that was the analogy I was using, anyway. [00:32:32 - 00:33:14]

DAVID REED: It was just wild. Have you seen the concept art for the Hybrid? [00:33:14 - 00:33:17]

TIFFANY LYNDALL-KNIGHT: No. I haven't. [00:33:17 - 00:33:18]

DAVID REED: I'll send it to you. [00:33:18 - 00:33:19]

TIFFANY LYNDALL-KNIGHT: Oh, really? I know we went through a couple of different outfits. We tried to do different things. There was one with like, I think we ended up with the cables and the lights that went underwater. But there was like tentacles at one stage. It was a real process. Yeah. [00:33:19 - 00:33:34]

DAVID REED: Oh, was it uncomfortable? [00:33:34 - 00:33:35]

TIFFANY LYNDALL-KNIGHT: I was very lucky. They had a person there, there was one crew member who was like my water boy, and he always kept the temperature at a certain level, which was great. And then, they'd pour in this Tempura paint to get the right opacity. So, it wasn't uncomfortable but line it, it was time-consuming to take it, like, to de-robe. That was time-consuming, because they, you know, I was covered in KY Jelly, and, yeah. So, but totally worth it. I'd always wondered it, because those lines can get complex after a while. I'd always wondered if you were allowed to read cards, because they were teleradiators. I'm really awesome to hear that, no, you memorized that. Oh, yeah. God forbid, they changed anything on you. [00:33:35 - 00:34:25]

DAVID REED: No. I didn't know what it meant, either. They were like, okay. For not Blood and Chrome, for The Plan. Did they have you back for that, or was that also, was that all previously recorded footage? [00:34:25 - 00:34:33]

TIFFANY LYNDALL-KNIGHT: Oh, no. They had me back for that. Yeah, that's the film at the end. Yeah. No. They did have me back for that. And then, we just moved to Australia after that, because I remember, I had to do voice-over here in a studio and patch that in. Yeah. As the ships jump, you know, it's cut away, so. For sure. [00:34:33 - 00:34:49]

DAVID REED: Yeah. That's right. Yeah. That's wild. What a cool experience on a show that you enjoyed, you know? [00:34:49 - 00:34:56]

TIFFANY LYNDALL-KNIGHT: Loved, loved, so. But, I'll tell you, I'll tell you something. I have to make a confession. After I was on it, the magic went away. Like, I couldn't, I don't. The same way, or you didn't watch it at all? [00:34:56 - 00:35:10]

TIFFANY LYNDALL-KNIGHT: I think I stopped watching it after I, like, I don't think I've watched final season, because I know, because all I couldn't see was everything outside the frame. Like, I can imagine the guy running boom, and I can imagine my water guy, and I can, and it just, I detached from it. Yeah. It's weird. I know. But, I can go back and watch it now. Absolutely. [00:35:10 - 00:35:28]

DAVID REED: You can't. No. It's a controversial ending, but it's a satisfying one. Okay. Yeah. In my opinion. A lot of people were, it was one of the more controversial endings of the time. But, whatever. A hell of a show, man. Oh, man. Okay. There's talent behind it from Alessandro, you know. Ron Moore, David Eick. Just brilliant. Absolutely brilliant. I really appreciate you sharing memories from it. [00:35:28 - 00:35:54]

TIFFANY LYNDALL-KNIGHT: Well, yeah. No. It was a great, great career-defining experience. 100%. [00:35:54 - 00:36:00]

DAVID REED: I have a few fan questions for you before I let you go. Really? Yes. Absolutely. Anthony and Lock Watcher both want to know, did you see any difference in the cast and crew and how you worked with them from your early appearance to your later appearance in Season 7, or was it the exact same refined machine? Were they a little bit, did you feel like they were a little bit more refined when you came back? Were things faster? I'm curious. Or was there no difference at all? [00:36:00 - 00:36:26]

TIFFANY LYNDALL-KNIGHT: I don't remember a difference. So, yeah. I don't think so. But I just qualify that with like I said, the first one, Touchstone, was my very first gig, ever. So, I was a complete newbie, and everything was so stimulating and overwhelming. I don't think that's, I have a fair measure from then to where I was five years later. I was just too wrapped up in my own sort of, at the time, to really notice. [00:36:26 - 00:37:00]

DAVID REED: Who could blame you? You know, you only have your first gig once. That's right. It's like your first time. [00:37:00 - 00:37:08]

TIFFANY LYNDALL-KNIGHT: Oh, and I was so starstruck. I mean, Richard Dean Anderson. It's MacGyver. My God. [00:37:08 - 00:37:12]

DAVID REED: Exactly right. Adam Storfer wanted to know, did you watch, how familiar were you with Stargate before joining the show in that episode? And have you seen it since? [00:37:12 - 00:37:19]

TIFFANY LYNDALL-KNIGHT: I was really aware of it. My dad was a big fan. My dad's a Trekkie, and so, he was the one who knew all about it. So, I knew it through watching it over at my dad's house. But I wasn't a huge fan the way I was with Battlestar Galactica. And I think that that was sort of okay, because it was more episodic, and coming in as a day player, you could be less aware of the nuance of it all. Yeah. They're very different types of shows, you know. Battlestar is definitely one story, so. Yeah. Soap opera in space. Yeah. And I think that, you know, now thinking back later, like, it's so great to have those shows, those vignette-based shows that allow lots of different actors to come through and try their chops and create these great characters. I've just been watching Poker Face. That's my new sort of obsession right now. Okay. And it's same thing. It's like, oh, so great to see a show that provides opportunities for not the stars, but for working actors to come and just give a fantastic performance, and then they're off to the next thing. Yeah. That's, I'm very grateful to Stargate for that. It, like you say, it just put Vancouver on the map, and it gave Vancouver actors such a great opportunity to show their chops. [00:37:19 - 00:39:10]

DAVID REED: Absolutely. Pamela Tarachek, of the two Stargate planets that you were on, the world of the Touchstone and the world of Revisions, if you had to live in one, which would you live in? [00:39:10 - 00:39:18]

TIFFANY LYNDALL-KNIGHT: Oh, well, I guess I would have to say Lamour's world. [00:39:18 - 00:39:22]

DAVID REED: Paradise, when it's working. [00:39:22 - 00:39:23]

TIFFANY LYNDALL-KNIGHT: Yeah. And it was like, it's like Australia, it was cool. Like, the temperature was bad for me. Yes. I just remember, I don't remember too much about Revisions, but it was like cold and muddy, that was the world. Yeah. [00:39:23 - 00:39:34]

DAVID REED: Yeah. No. I think it's just a great idea. They steal this thing with the hope of solving our climate, and in the episode, they make it worse on Earth. Like, human tampering. That sounds about right. Yeah. [00:39:34 - 00:39:44]

TIFFANY LYNDALL-KNIGHT: Yeah. They really had precient, weren't they? [00:39:44 - 00:39:46]

DAVID REED: Absolutely. Jeez. Tracy, what do you like to do in your off-time? How do you unwind? [00:39:46 - 00:39:53]

TIFFANY LYNDALL-KNIGHT: Oh, how do I unwind? Gardening. I love to garden. Yeah. I love ripping out weeds, or just looking at my garden out there, and it needs a few more weeds. Some more weeds need to be ripped. I, and walking, walking. We, I live in a little country town here, about half an hour from the city, and I have a very special, we call it the sneaky back route that I've walked for many years, and I love just seeing how the world slowly changes through the seasons. So, that's about as much time as I have right now. Walking. I would love to be doing other things, but I don't have the time. [00:39:53 - 00:41:00]

DAVID REED: There's something to be said for, because I live downtown, and I'm about 45 minutes outside of a major city. And there's something to be said for having the peace and quiet, you know? Yeah. Rather than just rush, rush, rush. I thought about living in New York for a while, but I couldn't do it. Maybe for like six months, but you need space, you know? [00:41:00 - 00:41:19]

TIFFANY LYNDALL-KNIGHT: I do. I do, too. We, I just went back to Canada with my son, actually. First time since COVID, and we went to Vancouver and Toronto, and I was really worried that I would go back to Vancouver and think, oh, I should be back here, and, you know, my peeps and the work, and, I was really relieved, actually, to go, no, this is where I'm meant to be right now, you know. Vancouver was so important and so wonderful. I never planned to leave. It was a chapter. That's exactly right. And my son's planning to move back now for his little stint in his to Vancouver, back to Vancouver. Okay. He's 19. I was 19 when I moved to Canada. And families there. That's right. And I just think, you know, yeah. That's what you need to do. You need to go, and that city is your city now. Off you go. Is he going to follow in Mom's footsteps? No. I don't think he's an actor, but I think he would be a fantastic First A.D. He's so I'm hoping I can get him into, you know, knowing some, I think I'll get into the Director's Guild and knocking on some doors. I think he'd be a great PA to start with. Yeah, yeah. [00:41:19 - 00:42:30]

DAVID REED: Apple doesn't fall far from the tree, does it? [00:42:30 - 00:42:32]

TIFFANY LYNDALL-KNIGHT: So. [00:42:32 - 00:42:32]

DAVID REED: The Time Prophet wants to know, I hear you were in an episode of Wolf Creek. How well, this is all news to me. How well do you know John Jarratt, and is he scary in real life? If that means anything. [00:42:32 - 00:42:41]

TIFFANY LYNDALL-KNIGHT: No. Yeah. So, Wolf Creek is a famous Australian movie, originally, about a serial killer. And then, they made a series about it, a couple of series, and I played, yeah, in a flashback scene, I played his mom. And it was a very intense scene. She was a severe alcoholic, and you see him as a little boy being beaten by his father. It was a great scene, because it explains why this man becomes, in part, why this man becomes the person he is. It's backstory. It's backstory. Yeah. I haven't met him personally, John, so I don't know if he's scary, but I'll tell you, shooting that scene was scary, because South Australia has wonderful locations that are, there's all these old ruined sandstone settlers' houses that are just out there to be explored. And we found this place way out in the north of the city that was a huge old abandoned building, and it was absolutely full of pigeon shit, and, sorry I had to blink that out. You're fine. And old children's toys that were covered in this. It was just terrifying. It was terrifying. And you could just feel all this history of this abandoned dream, you know, placed on stolen land, too, as well. So, it was very eerie, and as a result, very easy to play this desolate life and this destroyed woman. So, that's my ghost, that's my Australian Gothic experience with that piece. [00:42:41 - 00:44:28]

DAVID REED: Wow. There's so much amazing content being made now. And I'm, you know, I like, you look at Ireland, you know, Game of Thrones opened that country wide open, and I'd love to see more productions from Australia make their way to screens over here, and you know, the internet is the way to do it, you know, with YouTube Watch and so many of these are Facebook Watch, you know. There's a, there's, [00:44:28 - 00:44:54]

TIFFANY LYNDALL-KNIGHT: Yeah, absolutely. And I think that, you know, our, I'm the national vice president of Equity. So, in Australia, so, of our union. And one of the really big issues that we're dealing with is streaming and making sure that we get Australian content into streaming. And I think that we've had a couple of hits on Netflix, lately. I mean, Hannah Gadsby, obviously, took the world by storm, but there's also Heartbreak High, which is a fabulous remake of an original Australian series that, you know, suddenly, it's just tapped into young people all around the world, but the language is so uniquely Australian, and I think that's part of the charm of it is people are discovering this culture. It really is a culture. So, yeah, I'm hoping that we can, you know, as the streaming services go more global, that it isn't just a case of what Vancouver used to be, which was, it's a place for the big stars come from overseas or from the States, and the Canadians get a 50-worder. I'm, it would be so wonderful if we find a reciprocal relationship, where absolutely, stories from these local places go. Absolutely. Integrate the rest of the world. [00:44:54 - 00:46:25]

DAVID REED: Yeah. Well, it has been a delight having you on. I've really enjoyed this time. And you know, I really hope that you take someone in your household who's a sci-fi fan, maybe your son, you know, and rewatch Battlestar from the beginning. Okay? Because it's an 80-hour journey, and your role was so consequential in it. And I think that I think that you'd, well, I'd love to talk about the ending with you, frankly. But it's such an important icon of the 2000s and early 2010s of sci-fi, you know. And you were part of it, so. I'd enjoy it. [00:46:25 - 00:47:18]

TIFFANY LYNDALL-KNIGHT: Absolutely. All right. You've inspired me. When I finish Poker Face. [00:47:18 - 00:47:22]

DAVID REED: Hey, there you go. Deal. That works. Absolutely. [00:47:22 - 00:47:24]

TIFFANY LYNDALL-KNIGHT: I'll let you know when I've done it. [00:47:24 - 00:47:25]

DAVID REED: I really appreciate your time. And I truly wish you all the best with everything that you've got going on down under. And thank you, thank you for spending a little bit of your morning with me. [00:47:25 - 00:47:35]

TIFFANY LYNDALL-KNIGHT: Oh, it's been a pleasure. Thank you so much. I've really enjoyed this trip down memory lane. And yeah. And now I've got, now I've got a task. [00:47:35 - 00:47:44]

DAVID REED: Absolutely. You take care of yourself. All right. [00:47:44 - 00:47:49]

TIFFANY LYNDALL-KNIGHT: Yeah. Take care. Be well. Bye-bye. [00:47:49 - 00:47:51]

DAVID REED: Tiffany Lyndall-Knight, Stargate SG-1. We've got a couple of rascals back here. But we're going to go ahead and wrap up the show. I appreciate everyone tuning in for this episode. And if you enjoyed the content, go ahead and click that Like button. And share this episode with your friends. Get some more folks involved. We had an episode planned for this Sunday with Tor Alexander Valenza. He was going to come back and share some of his journal entries from the time that he was writing Stargate SG-1, where he had a lot of his content put into the show from those that he, when he was writing in his journals, he would write script notes. And so, he was going to come on and share those with us. But I'm going to have to postpone that episode. So, we will be bringing him back on at some point here in the near future, and we'll see how that goes. But I'm out here in California working right now. I'm actually editing in this house. Vinnie, Trini, come here. That's Trini. Come here. Come on. Say hi. You can't see her, but there she is. So, this is, and then, Vinnie, come on. Come here. See? There you go. Now, they're usually everywhere, but yeah. I can't get them over to me right now. But, it's all good. So, something's going on outside. But I appreciate you tuning in, and we're going to be back in the next few weeks here with more Dial the Gate episodes, and going to go ahead and wrap up Season 3 here. So, we will see how that pans out. Thanks so much to my moderating team, Tracy and Anthony, for making this episode possible on the back end. My producer, Linda, Gate Gabber Fury, and Fredrick Marcoux, my web developer, couldn't do the show without you guys. And as of this week, Dial the Gate is fully on IMDb. So, if you want to go and check out all the individual cast and crew that we've had on the show, that updated list is in IMDb as well. All you have to do is search for Dial the Gate. Appreciate you tuning in. My name is David Reed for Dial the Gate. Thanks again to Tiffany Lyndall-Knight, and we'll see you on the other side. Thank you. [00:47:51 - 00:50:09]