Battlestar Wiki - User contributions [en]

User:Zarek Rocks

2007-05-12T21:26:31Z

Zarek Rocks: Updating personal info

{{Character Data|
|photo=
|age=19
|colony=Southern California, I'd prefer [[The Twelve Colonies (RDM)|Sagittaron]].
|birthname=Michael Silk
|callsign=Atlas
|death=
|parents=2
|siblings=3
|children=0
|marital status=Single
|role=Scribe
|rank=Colonial Revolutionary and Freedom Fighter
|actor=Himself
|cylon=Y
|name=
}}
User Zarek Rocks' real name is Michael Silk, lover of all things Battlestar Galactica and a fan of Thomas Zarek, freedom fighter and prisoner of conscious.
I am 19. I'm a former Catholic Benedictine Monk. My interests include SciFi, especially Battlestar Galactica, obviously. My other interests include playing my bass, listening to good music, reading, and watching movies. I speak English, a little Japanese, and very little Tagalog. Little else would be of interest to anybody so I will not bore you with other insignificant facts about my personal life.

== Current Objectives ==
*I will continue to try to [[Battlestar Wiki:Translation Project|translate]] articles into Japanese.
*I will be transcribing [[Battlestar Wiki:Podcast Transcripts| Podcasts]] when they return.

AIM:Atlas Zarek

[[Category:Wikipedians|Zarek Rocks]]

User:Zarek Rocks

2007-05-06T04:06:48Z

Zarek Rocks: Updating user page, no longer a monk

{{Character Data|
|photo=
|age=19
|colony=Southern California, I'd prefer [[The Twelve Colonies (RDM)|Sagittaron]].
|birthname=Michael Silk
|callsign=Atlas
|death=
|parents=2
|siblings=3
|children=0
|marital status=Single
|role=Scribe
|rank=Colonial Revolutionary and Freedom Fighter
|actor=Himself
|cylon=Y
|name=
}}
User Zarek Rocks' real name is Michael Silk, lover of all things Battlestar Galactica and a fan of Thomas Zarek, freedom fighter and prisoner of conscious.
I am 19. I'm a former Catholic Benedictine Monk. My interests include SciFi, especially Battlestar Galactica, obviously. My other interests include playing my bass, listening to good music, reading, and watching movies. I speak English, a little Japanese, and very little Tagalog. Little else would be of interest to anybody so I will not bore you with other insignificant facts about my personal life.

== Current Objectives ==
*I will continue to try to [[Battlestar Wiki:Translation Project|translate]] articles into Japanese.
AIM:Atlas Zarek
*In the little free time I get(the monastic schedule is fairly rigorous)I will be transcribing [[Battlestar Wiki:Podcast Transcripts| Podcasts]] as much as possible.

[[Category:Wikipedians|Zarek Rocks]]

Battlestar Wiki:Podcast Transcripts

2007-05-04T03:12:16Z

Zarek Rocks: /* Crossroads, Part II */

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readability's sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

===== [[Podcast:Frak Party Q and A|Frak Party Q and A]] =====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/frak_party/frak_party_podcast.mp3 Full Podcast]
*Introduction (Transcribed: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 08:25, 24 April 2007 (CDT) Verified: [[User:Steelviper|Steelviper]] 08:48, 1 May 2007 (CDT).)
*Act 4 of "Crossroads, Part II" (Transcribed [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 08:25, 24 April 2007 (CDT) Verified: [[User:Steelviper|Steelviper]] 09:05, 1 May 2007 (CDT).)
*Discussion (Transcribed: -. Verified: —.) [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]])

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/320/bsg_ep320_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 10 April 2007 (CDT). Verified: --[[User:Zarek Rocks|Zarek Rocks]] 22:12, 3 May 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:07, 11 April 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 22:30, 11 April 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:00, 12 April 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:39, 13 April 2007 (CDT). Verified: --[[User:Zarek Rocks|Zarek Rocks]] 11:31, 15 April 2007 (CDT).)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category:Podcasts|*]]

Podcast:Crossroads, Part II

2007-05-04T03:11:03Z

Zarek Rocks: verifying teaser of podcast for Crossroads Part II

{{podcast
|author=Steelviper
|emailAuthor2=, [[Special:Emailuser/Zarek Rocks|Zarek Rocks]]
|suffix=s
|additionalCopyright=and [[Terry Dresbach]]
|season=3
|episode=K
}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, we had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the [[frak party]] in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

Terry: Well and I said this just the other day.

RDM: Now everybody's ripping apart his ass.

Terry: And now everybody is ripping apart George Bush all over the....Oh, see how bad Iraq is and yet, where were they when we were going in? And now it's just his fault?

RDM: We went into Iraq with an overwhelming majority of the American people's support. I was not one of those people but

Terry: But the point is,

RDM: The point is

Terry: and and all the politicains

RDM: And now everybody wants to run away

Terry: there was not a [[w:Democratic Party|democrat]] who was willing to say he was wrong.

RDM: And everybody wants to run away from it.

Terry: Yep.

RDM: So in some ways that did inform it, but it's not a direct allegory to this trial, to the issues of this trial obviously. But the idea that they all participated in it, they all did it, they've all forgiven each other. But not this guy because we don't like you very much.

Terry: We need somebody we didn't like.

RDM: And ultimately, there's altruism in that. There's this notion in our culture, that once we decide we don't like somebody that's it. That's what they said about Marth Stewart. Martha Stewart was convicted because she's a bitch, she wasn't convicted for much else.

Terry: Well I was going to ask you this. There's a lot of discussion about the sort of slide under the rug that you give to some of the characters. When they commit, y'know, infractions that wouldn't go.

RDM: We talk extensively about each one of those things. There's been a lot of fan comment about the fact that [[Karl C. Agathon|Helo]] was not punished, well Adama's heart was not in the situation.

Terry: or [[Kara Thrace|Starbuck]]

RDM: Adama's heart was not in the situation. Adama didn't really want to commit genocide he was happy that they just didn't commit suicide that day and wasn't going to dig any further. I guess on one level you could say well that's an infraction of the rules. and that's wrong and that's immoral and Helo should have been charged. But in this Rag Tag Fleet in this "gang" as Lee puts it they are making up the rules. And Adama decided in that case, his sense of morality told him he's glad about what he did on some level and wasn't going to push it and that's the bottom line. And same with Starbuck and the rest of them they are kind of making up the rules as they go along and they have to decide what rules they are going to uphold.


Terry: Well and again in a situation like this, this show's about the constant examination about the structure of society. About which things work and which things don't. Gee you might be against abortion in this circumstance but under this one are you still? So, can you be so black and white and arbitrary and say these are the rules we will follow them at all costs.

RDM: And I think it was interesting, in terms of the specific during the trial, what could they really convict Baltar of?

Terry: Right.

RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies (RDM)|the twelve colonies]] was something the audience witnessed happened and no one else knows about. Laura saw him, the most Laura could say was that she had a vision where she saw him with the [[Number Six|blond cylon]] and that's it. So there was no charge there.

Terry: While she was on [[Chamalla|watchamacallit]]

RDM: While she was on drugs, so that doesn't hold water. And the rest of it

Terry: Nobody saw him give the warhead to Six.

RDM: Oh uh to Gina, the warhead? Yah, nobody saw that. Nobody tracks him back to that crime specifically. So they didn't have a lot, but they disliked him like the audience dislikes him. So I wanted to play on that
to sort of make you question whether sometimes the quest for justice is really a quest for vengance.

Terry: Well and also what does it mean when it is the audience who did see him give the warhead to Caprica-Six to know that he's guilty. You know that he's guilty but you have to allow the legal system to do what it does.

RDM: Cause otherwise there's no point in having it.

Terry: It's like watching instant replay in baseball even though you could see that the guy was out.

RDM: Yah, the umpire called it.

Terry: The umpire called it.

RDM: There was a version of the story, in fact it was the first draft in the initial stories where we were not going to give a verdict before the end. That Baltar was either going to yank his plea before they rendered a verdict or the attack was going to happen before they rendered the verdict and we were going to go out on the season with Baltar, his fate not completely resolved. [[Michael Rymer|Michael Rymer]] and [[David Eick|David Eick]] were up in arms about it about the idea that we had to bring resolution to it by the end. I didn't personally think you did, I thought a cliffhanger's a cliffhanger's a cliffhanger. You could go out whenever you felt like going out; you could leave as many threads hanging as you want, but eventually I acquiesced ok let's give Baltar resolution. That was probably in retrospect the right decision because it allows this episode to bring this storyline to conclusion before we move into the whole [[Cylons (RDM)|Cylons]], the revelation of the [[Final five|final four]] Cylons section. End of the act.

== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where [[Sci Fi|the network]] wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't under- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill her here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth (RDM)|Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- the network wanted to drop it at one point. I think David wanted to drop it at one point. And I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.


{{Podcast list (RDM season 3)}}

Battlestar Wiki talk:Think Tank/Deletion discussions

2007-04-26T01:18:12Z

Zarek Rocks: minor grammar mistake

== Suggestions ==
I'm not going to call a vote on this proposal yet, because I want to wait for people's suggestions first. What could be added to, removed from, or changed in this policy? --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:18, 19 April 2007 (CDT)
:Looks good to me. --[[User:Serenity|Serenity]] 10:22, 19 April 2007 (CDT)

== Vote ==
Since everybody is awfully quite in the suggestions section, I'm calling the vote.

* Date Started: {{dateahead|{{JD|2007|04 |21}}|0}}
* Date Ending: {{dateahead|{{JD|2007|04 |21}}|7}}

Instructions: Use <nowiki>{{Support}}, {{Oppose}}, {{Abstain}}, and {{Neutral}}</nowiki>, supported by a reason and appropriately signed using the four tildes (<nowiki>~~~~</nowiki>).

[[Category:Ideas currently under voting status|{{PAGENAME}}]]


Other users are encouraged to vote as well, simply use {{tl|vote}} to add your vote. Refer to [[Template:Vote]] for complete instructions.

# [[User:Joe Beaudoin Jr.|Joe Beaudoin Jr.]] - {{Neutral}} I've been given time to think about this... Not to sure if this process has to be ''this'' mechanized. I'm for transparency, but not necessarily at the cost of productivity. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 18:04, 22 April 2007 (CDT)
# [[User:CalculatinAvatar|CalculatinAvatar]] - {{Abstain}}. Automatic [[Battlestar Wiki:Leave of Absence|leave of absence]] due to inactivity.
# [[User:Day|Day]] - {{Abstain}}. Automatic [[Battlestar Wiki:Leave of Absence|leave of absence]] due to inactivity.
# [[User:Gougef|Gougef]] -
# [[User:JubalHarshaw|JubalHarshaw]] - {{Neutral}} - I agree with Mercifull's comment below. [[User:JubalHarshaw|JubalHarshaw]] 15:42, 22 April 2007 (CDT)
# [[User:Mercifull|Mercifull]] - {{Neutral}} I still am not 100% convinced. I think deleted things should stay deleted. Sysops can always refer to a deleted page anyway. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 04:43, 22 April 2007 (CDT)
#: {{comment}} You just said it. ''Sysops'' can, but regular users cannot (and even sysops need to physically undelete the page before they can view it). We have similar templates and procedures for requesting [[Template:move|moves]] and [[Template:delete|deletions]]. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 05:02, 22 April 2007 (CDT)
#:: {{comment}} Why does a user need to see deleted pages? And sysops don't need to restore a deleted page before they can see it. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 05:09, 22 April 2007 (CDT)
#::: {{comment}} Damn, you're right, didn't know Special:Undelete was that versatile (I'm a sysop at the HB). Like the policy says, users might want to see a deleted page if they think its deletion was unjustified. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 05:45, 22 April 2007 (CDT)
#:::: {{comment}} Then that user should place a message on the sysops that deleted its userpage. When i delete something I always explain on their talk page why. Would we still keep talk pages where people have spammed or written profanity? Who decides what gets kept and what is deleted? --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 05:55, 22 April 2007 (CDT)
# [[User:Peter Farago|Peter Farago]] -
# [[User:Serenity|Serenity]] - {{Neutral}} - Technically it's a good process, but as said, most deletions here have a reason and aren't disputed. However, why did noone bring up this point before? --[[User:Serenity|Serenity]] 06:06, 22 April 2007 (CDT)
# [[User:Shane|Shane]] - {{Oppose}} in it's current state. A lot of things still need to be hammered out ''if'' this way going to become policy. The number of deletions that we discuss on talk pages are very few and right now, our size of the wiki does not need to "archive" deleted discussion or the articles them selfs. Sysops delete things based on the [[BW:DEL]] policy and the [[BW:DEL]] policy has no flaw in the wording. Under the " Criteria for Deletion" #2, 3, 6 and 7 seem to be the most common reasons for deletions on the wiki. [[BW:UNDEL]], an un-binding policy at the moment, offers little insight on what we should do also. However, most deletions that we do here are again #2, 3, 6, and 7. [http://en.battlestarwiki.org/w/index.php?title=Battlestar%20Wiki:Candidates%20for%20deletion&diff=cur&oldid=prev #8] though sets up the policy for archiving the talk pages of deleted items. This should be removed to reflect that we do not link the pages currently at the moment. But if the article was already deleted under #2, 3, 6, and 7 there would be no point in leaving the talk page, but leaving a note on the user who created it talk page. The intention is good, but we need more "vandalism" deletes for this policy to work and right now, we don't have any anonymous edits and most are fixable within an hour or two and don't effect the search engine spiders. [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 05:59, 22 April 2007 (CDT)
#: {{comment}} I agree with you and Mercifull above that most deletions we execute here are "obvious" ones (the 2367s). We could have the policy say deleting talk pages in those cases is OK. However, this policy was written to cover the more "controversial" cases, e.g. [[BSG Rap]] (this one was actually undeleted), [[Starbuck's Raider]], [[Galaktika]], [[Culture in the Twelve Colonies (RDM)]] (the latter's [[Talk:Culture in the Twelve Colonies (RDM)|talk page]] was accidentally kept). These pages were not 2367 cases, but were deleted after a discussion, and in some cases a vote. It's not that I disagree with their deletions, but someone who did would have no other explanation than the (usually very brief) summary in the [[Special:Log/Delete|deletion log]]. ''That's'' the kind of case this policy aims to cover. I'll put in a clause later today saying these procedures only apply to ''non-obvious'' cases (where I'd define "obvious" as something close to your 2367 story). BTW, Shane, please put in a more correct diff link, as the current one doesn't really make sense. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 06:20, 22 April 2007 (CDT)
#:: {{comment}} You will note that while I deleted the bsg rap page I wrote an explaining message on the persons talk page and even included the content of the page so that it would be easy to restore once more citations were made etc. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 06:31, 22 April 2007 (CDT)
#::{{Comment}} Last thing before I goto bed... I undeleted [[BSG Rap]] after seeing the rap song did have a source. Kinda like I know what everything is deleted because I have like a stupid memory process. But those other ones I can give my reasons why, but here I go. Starbuck's Raider - more in depth on the raider itself but had no "real history of even existing" according to RDM and we already have Heavy Raider article. Galaktika clearly falls under #8 (new #8) and [[BW:NOT]], [[BW:FAN]]. And finally, Culture in the Twelve Colonies (RDM), and reading the talk page I fully understand the reason why it was deleted. I have no idea why the talk page was missed, but it can stay for now. It's almost like a merge and why would we need to really keep something that we know the content was not removed, just move to a new location. So right now everything else it deleted. Now it took me five minutes to find everything int he undelete section and to read it. So it doesn't take one long to restore a page or read the reasons. And when even an admin sees a "new page" on the same subject and there was deleted content, it tells us there was deleted content and we should see that. Also removing these items makes the wiki look cleaner in my option. Showing what we deleted is a good thing, but we can tell if it's been recreated and take the needed actions to delete it again. 06:43, 22 April 2007 (CDT)
#::: {{comment}} I wasn't objecting to those deletions, nor did I ask you to provide reasons. Like I said before, I fully agree with those deletions; hell, I even participated in some of the discussions leading up to them. But Shane just proved my point: not everybody has a Shane-like memory, and the talk page for Culture gives a great deal of insight in the reasons for its deletions. Shane does seem to misunderstand some subtle points:
#:::* We do '''not''' keep deleted content around. Rather, we only keep the talk pages, which accidentally happened to [[Talk:Culture in the Twelve Colonies (RDM)]]. As you said yourself, they're a valuable source of insight. If you're really worried about clutter, we could truncate the talk pages and remove everything except the deletion discussion itself.
#:::* Not everybody checks BSWiki daily, or even weekly. I was lucky enough to be around at the time of the Culture discussion. If the creator were on a holiday, come back a week later and find both his article and the associated talk page deleted (deletion summary: "deleting per talk page"), he'll have no easy way of finding out what the [[frak]] was wrong with his article. This policy aims to keep the talk page so "latecomers" can object or at least get clarification.
#:::* Not everybody is an admin. Non-admins can't read or restore deleted pages, so they have to ask admins to do it for them. For that same reason, we have {{tl|delete}} and {{tl|move}}.
#::: Also, please note that I have updated the policy to include an obvious cases clause. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 07:23, 22 April 2007 (CDT)
# [[User:Spencerian|Spencerian]] - {{oppose}}. We delete things for a reason. They don't belong. I make it a custom to tell contributors of major changes (rollbacks, article deletions they started). Having an "undelete" option leaves more work and confusion and questioning what should be clear. Normally, deletion is the last option we give to an article; merging to other articles is preferred. If a person recreates a deleted article (wondering why it's gone), we admins haven't done our job in keeping the original editor informed about the change (as only we can delete pages). Be sure to tell contributors what's happened on their talk pages, please. No undead articles. --[[User:Spencerian|Spencerian]] 22:32, 22 April 2007 (CDT)
# [[User:Steelviper|Steelviper]] -
# [[User:Talos|Talos]] -

# [[User:Catrope|Catrope]] - {{support}}. I wrote the proposal and created the templates. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 15:42, 21 April 2007 (CDT)
# [[User:Zarek Rocks|Zarek Rocks]] - {{support}} Caprica seconds for various reasons which are far too obvious and numerous to go into right now but certainly we can all agree it would be a good idea to have a successor.....oh wait. --[[User:Zarek Rocks|Zarek Rocks]] 10:59, 22 April 2007 (CDT)

Battlestar Wiki talk:Think Tank/Deletion discussions

2007-04-22T15:59:49Z

Zarek Rocks: /* Vote */

== Suggestions ==
I'm not going to call a vote on this proposal yet, because I want to wait for people's suggestions first. What could be added to, removed from, or changed in this policy? --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:18, 19 April 2007 (CDT)
:Looks good to me. --[[User:Serenity|Serenity]] 10:22, 19 April 2007 (CDT)

== Vote ==
Since everybody is awfully quite in the suggestions section, I'm calling the vote.

* Date Started: {{dateahead|{{JD|2007|04 |21}}|0}}
* Date Ending: {{dateahead|{{JD|2007|04 |21}}|7}}

Instructions: Use <nowiki>{{Support}}, {{Oppose}}, {{Abstain}}, and {{Neutral}}</nowiki>, supported by a reason and appropriately signed using the four tildes (<nowiki>~~~~</nowiki>).

[[Category:Ideas currently under voting status|{{PAGENAME}}]]


Other users are encouraged to vote as well, simply use {{tl|vote}} to add your vote. Refer to [[Template:Vote]] for complete instructions.

# [[User:Joe Beaudoin Jr.|Joe Beaudoin Jr.]] -
# [[User:CalculatinAvatar|CalculatinAvatar]] - {{Abstain}}. Automatic [[Battlestar Wiki:Leave of Absence|leave of absence]] due to inactivity.
# [[User:Day|Day]] - {{Abstain}}. Automatic [[Battlestar Wiki:Leave of Absence|leave of absence]] due to inactivity.
# [[User:Gougef|Gougef]] -
# [[User:JubalHarshaw|JubalHarshaw]] -
# [[User:Mercifull|Mercifull]] - {{Neutral}} I still am not 100% convinced. I think deleted things should stay deleted. Sysops can always refer to a deleted page anyway. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 04:43, 22 April 2007 (CDT)
#: {{comment}} You just said it. ''Sysops'' can, but regular users cannot (and even sysops need to physically undelete the page before they can view it). We have similar templates and procedures for requesting [[Template:move|moves]] and [[Template:delete|deletions]]. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 05:02, 22 April 2007 (CDT)
#:: {{comment}} Why does a user need to see deleted pages? And sysops don't need to restore a deleted page before they can see it. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 05:09, 22 April 2007 (CDT)
#::: {{comment}} Damn, you're right, didn't know Special:Undelete was that versatile (I'm a sysop at the HB). Like the policy says, users might want to see a deleted page if they think its deletion was unjustified. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 05:45, 22 April 2007 (CDT)
#:::: {{comment}} Then that user should place a message on the sysops that deleted its userpage. When i delete something I always explain on their talk page why. Would we still keep talk pages where people have spammed or written profanity? Who decides what gets kept and what is deleted? --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 05:55, 22 April 2007 (CDT)
# [[User:Peter Farago|Peter Farago]] -
# [[User:Serenity|Serenity]] - {{Neutral}} - Technically it's a good process, but as said, most deletions here have a reason and aren't disputed. However, why did noone bring up this point before? --[[User:Serenity|Serenity]] 06:06, 22 April 2007 (CDT)
# [[User:Shane|Shane]] - {{Oppose}} in it's current state. A lot of things still need to be hammered out ''if'' this way going to become policy. The number of deletions that we discuss on talk pages are very few and right now, our size of the wiki does not need to "archive" deleted discussion or the articles them selfs. Sysops delete things based on the [[BW:DEL]] policy and the [[BW:DEL]] policy has no flaw in the wording. Under the " Criteria for Deletion" #2, 3, 6 and 7 seem to be the most common reasons for deletions on the wiki. [[BW:UNDEL]], an un-binding policy at the moment, offers little insight on what we should do also. However, most deletions that we do here are again #2, 3, 6, and 7. [http://en.battlestarwiki.org/w/index.php?title=Battlestar%20Wiki:Candidates%20for%20deletion&diff=cur&oldid=prev #8] though sets up the policy for archiving the talk pages of deleted items. This should be removed to reflect that we do not link the pages currently at the moment. But if the article was already deleted under #2, 3, 6, and 7 there would be no point in leaving the talk page, but leaving a note on the user who created it talk page. The intention is good, but we need more "vandalism" deletes for this policy to work and right now, we don't have any anonymous edits and most are fixable within an hour or two and don't effect the search engine spiders. [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 05:59, 22 April 2007 (CDT)
#: {{comment}} I agree with you and Mercifull above that most deletions we execute here are "obvious" ones (the 2367s). We could have the policy say deleting talk pages in those cases is OK. However, this policy was written to cover the more "controversial" cases, e.g. [[BSG Rap]] (this one was actually undeleted), [[Starbuck's Raider]], [[Galaktika]], [[Culture in the Twelve Colonies (RDM)]] (the latter's [[Talk:Culture in the Twelve Colonies (RDM)|talk page]] was accidentally kept). These pages were not 2367 cases, but were deleted after a discussion, and in some cases a vote. It's not that I disagree with their deletions, but someone who did would have no other explanation than the (usually very brief) summary in the [[Special:Log/Delete|deletion log]]. ''That's'' the kind of case this policy aims to cover. I'll put in a clause later today saying these procedures only apply to ''non-obvious'' cases (where I'd define "obvious" as something close to your 2367 story). BTW, Shane, please put in a more correct diff link, as the current one doesn't really make sense. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 06:20, 22 April 2007 (CDT)
#:: {{comment}} You will note that while I deleted the bsg rap page I wrote an explaining message on the persons talk page and even included the content of the page so that it would be easy to restore once more citations were made etc. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 06:31, 22 April 2007 (CDT)
#::{{Comment}} Last thing before I goto bed... I undeleted [[BSG Rap]] after seeing the rap song did have a source. Kinda like I know what everything is deleted because I have like a stupid memory process. But those other ones I can give my reasons why, but here I go. Starbuck's Raider - more in depth on the raider itself but had no "real history of even existing" according to RDM and we already have Heavy Raider article. Galaktika clearly falls under #8 (new #8) and [[BW:NOT]], [[BW:FAN]]. And finally, Culture in the Twelve Colonies (RDM), and reading the talk page I fully understand the reason why it was deleted. I have no idea why the talk page was missed, but it can stay for now. It's almost like a merge and why would we need to really keep something that we know the content was not removed, just move to a new location. So right now everything else it deleted. Now it took me five minutes to find everything int he undelete section and to read it. So it doesn't take one long to restore a page or read the reasons. And when even an admin sees a "new page" on the same subject and there was deleted content, it tells us there was deleted content and we should see that. Also removing these items makes the wiki look cleaner in my option. Showing what we deleted is a good thing, but we can tell if it's been recreated and take the needed actions to delete it again. 06:43, 22 April 2007 (CDT)
#::: {{comment}} I wasn't objecting to those deletions, nor did I ask you to provide reasons. Like I said before, I fully agree with those deletions; hell, I even participated in some of the discussions leading up to them. But Shane just proved my point: not everybody has a Shane-like memory, and the talk page for Culture gives a great deal of insight in the reasons for its deletions. Shane does seem to misunderstand some subtle points:
#:::* We do '''not''' keep deleted content around. Rather, we only keep the talk pages, which accidentally happened to [[Talk:Culture in the Twelve Colonies (RDM)]]. As you said yourself, they're a valuable source of insight. If you're really worried about clutter, we could truncate the talk pages and remove everything except the deletion discussion itself.
#:::* Not everybody checks BSWiki daily, or even weekly. I was lucky enough to be around at the time of the Culture discussion. If the creator were on a holiday, come back a week later and find both his article and the associated talk page deleted (deletion summary: "deleting per talk page"), he'll have no easy way of finding out what the [[frak]] was wrong with his article. This policy aims to keep the talk page so "latecomers" can object or at least get clarification.
#:::* Not everybody is an admin. Non-admins can't read or restore deleted pages, so they have to ask admins to do it for them. For that same reason, we have {{tl|delete}} and {{tl|move}}.
#::: Also, please note that I have updated the policy to include an obvious cases clause. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 07:23, 22 April 2007 (CDT)
# [[User:Spencerian|Spencerian]] -
# [[User:Steelviper|Steelviper]] -
# [[User:Talos|Talos]] -

# [[User:Catrope|Catrope]] - {{support}}. I wrote the proposal and created the templates. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 15:42, 21 April 2007 (CDT)
# [[User:Zarek Rocks|Zarek Rocks]] - {{support}} Caprica seconds for various reasonswhich are far to obvious and numerous to go into right now but certainly we can all agree it would be a good idea to have a successor.....oh wait. --[[User:Zarek Rocks|Zarek Rocks]] 10:59, 22 April 2007 (CDT)

User talk:Steelviper

2007-04-15T16:39:51Z

Zarek Rocks: /* Minor Changes to Act 4 of podcast for Crossroads, Part II */

Archive from before the [http://www.battlestarwiki.org/en/index.php?title=User_talk:Steelviper&oldid=36970 Spam blizzard of '06] (March 10, 2006) 
Archive for the period [http://en.battlestarwiki.org/w/index.php?title=User_talk:Steelviper&oldid=82914 after the Blizzard through Shane's RFA success] (March 11,2006 - October 8, 2006)

==Podcast Transcripts==
Thanksyou for starting to write up the transcripts for the poscasts. I think that SciFi have blocked people outside of the US from downloading them (im getting 404 errors) so reading these will be very useful for me.

p.s I think it might be worth archiving your Talk page --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:12, 9 October 2006 (CDT)
:Actually, the everybody (todo el mundo) is getting the 404 errors from Scifi.com at present. I hit the sciffy boards and apparently they're working on it. Somebody posted a link to a weird format, and somebody later posted a link to the mp3. I'll find that thread, and link to it. Hopefully they get that fixed before too long.
:Nag, nag, nag. You're right, of course. I'll archive here in a sec. --[[User:Steelviper|Steelviper]] 11:15, 9 October 2006 (CDT)
::Archived. Fetching that link now. --[[User:Steelviper|Steelviper]] 11:19, 9 October 2006 (CDT)
::[http://mboard.scifi.com/showflat.php?Cat=0&Number=2209201&an=0&page=1&gonew=1#UNREAD The link.] (referenced above). I'm using the galacticastation mp3 (since I new that Express Scribe could handle mp3, but wasn't sure about m4a). --[[User:Steelviper|Steelviper]] 11:22, 9 October 2006 (CDT)
:::Thankyou ^_^ --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:28, 9 October 2006 (CDT)
::::You're welcome. Thanks for the archive reminder. I don't usually get enough traffic 'round here to justify archiving very often (which is evident given that's only my second archive). --[[User:Steelviper|Steelviper]] 11:30, 9 October 2006 (CDT)

FWIW, I think the problem w/ lack of beeps in the podcasts is that the m4a's have (silent) chapter markers. In iTunes there's a command to skip ahead or back a chapter (command-shift-right or left arrow on a Mac), and I understand the same is true on an iPod. Scifi is breaking each act into a chapter.--[[User:PrePressChris|PrePressChris]] 13:09, 25 October 2006 (CDT)
:Aha! Thanks! That makes sense. As a non-iPod/iTunes user I was baffled. Even finding a player for it was a bit of a challenge (fortunately VLC was up to the challenge). My biggest problem with m4a is that it's not compatible (at least out of the box) with Express Scribe. Fortunately an mp3 version was floated that covered most of the episode. As long as Scifi keeps putting out the mp3 versions complete with the beeps I'll be a happy camper. (I really didn't need the audio files broken down by act like they were, but it was handy for transcribing in small bites, and knowing ahead of time how long a given act would be.) --[[User:Steelviper|Steelviper]] 13:14, 25 October 2006 (CDT)

Go ahead with KBLGII. I have been ill for several weeks and transcription is one of the last things that I would feel like doing ;). --[[User:Gougef|FrankieG]] 18:02, 3 November 2006 (EST)
:It looks like you are on a roll. Since I'm still not 100%, go ahead with KBLGII. --[[User:Gougef|FrankieG]] 10:59, 17 November 2006 (CST)

Did you see RDM's blog entry? Aside from last week's and this week's podcasts, there's this coming up: ''The "Roundtable Discussion" as we're calling it, is a freewheeling discussion, and there are definitely times when there's too much cross-talk and too much laughter on the recording to discern anything coherent (especially in the beginning) but tucked in amid the revelry are some interesting and fascinating tidbits which I hope you'll enjoy. '' --[[User:PrePressChris|PrePressChris]] 17:39, 1 December 2006 (CST)
:Yeah. I wasn't that excited about the thought of transcribing that when I saw Mrs. Ron talking about posting it in the first place. It's already up as three parts of "Writer's Meeting" (in three parts). Since it's of the "writer's room" class of podcast, I figured it would go under the same heading as the writer's room podcast (which is to say, likely to be procrastinated on for a while since I'm rather frightened of the thought of all the cross-talk and MANY speakers). --[[User:Steelviper|Steelviper]] 20:36, 1 December 2006 (CST)
::I think that's one to leave off 'til we're caught up with this season, at least. --[[User:PrePressChris|PrePressChris]] 23:05, 1 December 2006 (CST)

::How have you remained sane while doing all this podcasts? I barely got one teaser out of myself. --[[User:Gougef|FrankieG]] 11:01, 8 December 2006 (CST)

:::I can't get certified insane if I avoid being diagnosed, right? Mostly I just try to break it up into managable chunks (3 minutes is a typical pull), and try to do a little bit every day. It really helps me (psychologically) when I know other people are working on it too, though. Having you, and Prepress, and Peter, and Shane (and everybody else) working on it makes it feel a lot more like a team effort. I'd love to find somebody to get a head start on the podcasts as they're released on Friday (I wait till I see an episode before starting on a podcast, and that's usually later in the weekend). I definitely feel faster when I'm completing one rather than starting from scratch. I just hope people are reading them. If we're just needing them for a line or two to cite in the episode articles, I could just transcribe those relevent excerpts in a lot less time than it takes to do a whole podcast. --[[User:Steelviper|Steelviper]] 11:14, 8 December 2006 (CST)
::::I'm using them, anyway. I was just able to quote that bit about having Dirk Benedict playing God thanks to them. (and Gouge, he's not crazy. He just has incredible, almost machine-like, endurance...) --[[User:PrePressChris|PrePressChris]] 16:12, 8 December 2006 (CST)

I noticed [[Podcast:Rapture|the Rapture podcast]] was not getting done, that's why I did it. I'm trying to get it done as fast as I can. I don't think I can have [[Podcast:Taking a Break From All Your Worries|the latest podcast]] transcribed before [[The Woman King|the next episode]] airs, so I recommend that if and when you have time, you start transcribing TaB so we won't interfere with each other. --[[User:Catrope|Catrope]] 13:16, 30 January 2007 (CST)
:BTW, if you're going to verify my transcriptions, would you please try to fill in the "(unintelligible)"s? I felt like I had quite a lot of them, especially in Act 2. --[[User:Catrope|Catrope]] 13:47, 31 January 2007 (CST)
::As a "transcriber", I'll try to prioritize my time towards transcribing the untranscribed first (working on "Taking a Break"), then fall back to verifying once we're caught up (or if I happen to be burned out on transcribing). You might drop a note to [[User:PrePressChris|PrePressChris]] as well, as he's been our ace verifier of late and he is extremely adept at converting all of my "unintelligible"'s into english. Don't feel the least bit bad about them, as they happen and that's really what verifiers are there for. Don't let those sections slow you down from getting the "meat" transcribed. We can always go back and clean up that stuff later. I find that if it's really important they will usually repeat themselves or otherwise repeat it in an intelligible manner. --[[User:Steelviper|Steelviper]] 14:00, 31 January 2007 (CST)

==Steelviper / Steel viper==
Mmm :-/ [[User talk:Steel viper]] --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 09:22, 11 December 2006 (CST)
:I noticed that when the user first signed up. I was alert for "impersonating an admin" type actions, but didn't really see anything along those lines. I don't imagine it will be much of a problem unless that user becomes more active. Your suggestion was appropriate as switching names is probably as much in their best interest as it is the wiki's. --[[User:Steelviper|Steelviper]] 09:31, 11 December 2006 (CST)

==Block of 81.177.14.26==
:On another wiki I visit has a massive spam attack by this ip advertising comerical spam from ''wikipost.info''. I searched for the [http://www.google.co.uk/search?hl=en&q=wikipost.info&btnG=Google+Search&meta= url of the spam] it was advertising and saw that it was crawling several other wikis posting large amounts of spam (2mb of text on each page). I felt that this preemptive block was neccesary on this occation. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 09:27, 10 January 2007 (CST)
::In that case, it's fine. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 15:17, 10 January 2007 (CST)

==Congratulations==
^_^ --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:39, 19 January 2007 (CST)
:Thanks. It is a nice rifle, isn't it? Oh. The baby? Yeah, well that'll be a whole new adventure. --[[User:Steelviper|Steelviper]] 11:47, 19 January 2007 (CST)
::Congratulations! When can you get him or her on to do some editing? :) --[[User:Spencerian|Spencerian]] 12:05, 19 January 2007 (CST)
:::Possible record for youngest Battlestar Wiki member --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 12:13, 19 January 2007 (CST)
::::It'll be a race, no doubt. We're still at least a couple years from acceptable edits. Plus the mature nature of the content makes TOS and 1980 far more likely candidates for viewing of the editor-to-be than RDM, presently. --[[User:Steelviper|Steelviper]] 12:20, 19 January 2007 (CST)
:::::The question is: Will you bring up your son/daughter to not know that Galactica 1980 exists and that TOS and RDM are the only episodes ever made? Perhaps they will be happier having never seen or heard of the travesty that is 1980? --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 12:22, 19 January 2007 (CST)

==Galactica Squadrons==
While re-watching Act of Contrition I noticed a few more Galactica squadrons shown on the walls in the pilots' ready room. In the beginning of the ep when Adama enters, he touches the "Lest We Forget" picture then passes a squadron crest labeled "Vampires". A minute or two later, when we see Sgt. Hadrian standing against the wall, we can clearly see 7th Squadron "Battleaxe" and 4th squadron "Demons" on the wall behind her. How could one go about adding this to the wiki?[[User:AnteaterFeeder|AnteaterFeeder]] 21:04, 20 January 2007 (CST)
:You can just create an article. <code>/wiki/Vampire squadron</code> -- then just create it. :-) Check out [[BW:MARK]] [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 21:13, 20 January 2007 (CST)
::I recall seeing some of these squadrons (and their associated patches) floating around in some of the signatures of folks at the scifi.com bulletin boards and elsewhere. There's not much info to be had, so rather than creating a tiny article for each of those, maybe we should consider [[Squadrons of Galactica]] or [[Squadrons of the Colonial Fleet]] that lists out all the squadron names and insignia that we can find, with possible redirects to that article from the individual unit names. Maybe we should bring this up at List of Pilots (RDM) or a similar article, to see if we can find some other hands? --[[User:Steelviper|Steelviper]] 21:25, 20 January 2007 (CST)
:::That sounds like a good idea-- the "Galactica Squadrons" page. I wouldn't know how to go about making that page. I'm still pretty new at this. I did however note that the Vampires are the 6th squadron as well as an 8th squadron (an 8 on a red spade), and a Viper Weapons School logo on the walls too. I will bring this up in the list of pilots page. {{unsigned|AnteaterFeeder}}
:::Agreed, one page for all squadrons is better. That can then incoporate the info found at [[Primus]] and [[Vigilantes]] now --[[User:Serenity|Serenity]] 05:49, 21 January 2007 (CST)
::::I tried to post this last night (blasted internet), but something like [[Squadrons of Battlestar Galactica]] works. I've been collecting screenshots of the logos when I could trying to identify them, but unfortunately, most are too blurry to read with NTSC DVDs. There is also some good shots of crests during the debate scene in LDYB part I. Finally, there is also a crest for a "Viper Weapons School", presumably the colonial equivelant of the [[w:United States Naval Fighter Weapons School|US Naval Fighter Weapons School]], aka TOPGUN. This could be mentioned in the Colonial fleet article. --[[User:Talos|Talos]] 06:40, 21 January 2007 (CST)

I'll go ahead and create the article, by moving the Primus and Vigilante stuff there. Then someone else can add the others. EDIT: It can be found at [[Squadrons of Galactica]], and maybe we should move further discussion there :) --[[User:Serenity|Serenity]] 06:49, 21 January 2007 (CST)

== Email ==

Umm... your's isn't a forward. :-) [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 14:54, 2 February 2007 (CST)

== Troyian User Page ==

*Thanks for the suggestion! I wasn't aware we could create subpages of our user pages. -- [[User:Troyian|Troyian]] 09:33, 9 February 2007 (CST)

== Podcast info ==

* Info came from the extended podcast. There's no available normal podcast. --[[User:LifeStar|LifeStar]] 08:56, 21 February 2007 (CST)
:Hopefully a "normal" one will be released later (at least that's the way it seemed from the post they put up at the Scifi forums). If that occurs it might help to distinguish which podcast that info came from. Nice find, by the way. That one was confusing us over here. --[[User:Steelviper|Steelviper]] 08:59, 21 February 2007 (CST)

== [[User:StarNeptune]] ==

Coincidentally, I just noticed your comment to this user on recent changes. That StarNeptune is almost certainly an impostor: I have never met the real StarNeptune in reality, only on Wookieepedia. That user is most likely a serial vandal from Wookieepedia and Wikipedia who's gone around impersonating and harassing people on other wikis. I don't know if you have checkuser, but if you do you'll likely find that the StarNeptune you were talking to is using either an open proxy or an ISP in Italy.

If you want, you can leave a message for StarNeptune on Wookieepedia to confirm this. Cheers, —[[User: Silly Dan|Silly Dan]] [[User talk:Silly Dan|(talk)]] 11:14, 30 March 2007 (CDT)
:Whoops. I have the unfortunate habit of taking people at their word most of the time, and I occasionally get burned. I don't have checkuser, but I'll keep a close eye on that user. Thanks for the heads up. --[[User:Steelviper|Steelviper]] 11:29, 30 March 2007 (CDT)

:I ''do'' have checkuser, and will try to make a cursory check on this user and let you know. There is no policy for user names between wikis, but there ''is'' a policy on inpersonating someone, which this user is obviously doing. --[[User:Spencerian|Spencerian]] 14:23, 30 March 2007 (CDT)

==Thanks==
Thanks for the help cleaning up the Kobol links after the split. Much appreciated. There's a ton of them! [[User:JubalHarshaw|JubalHarshaw]] 15:02, 13 April 2007 (CDT)
:No, thank you! Such mopping is pretty much expected of sysops, but it's guys like you that help keep this place running. Speaking of which... --[[User:Steelviper|Steelviper]] 16:37, 13 April 2007 (CDT)

::I have offered him the [[Battlestar Wiki:Requests for adminship/JubalHarshaw|red mop]], but he must ''choose'' to mop with it... --[[User:Spencerian|Spencerian]] 18:28, 13 April 2007 (CDT)
==Minor Changes to Act 4 of podcast for Crossroads, Part II==
I just wanted to let you know that I reviewed act 4 of the transcript for [[Podcast:Crossroads, Part II|Crossroads, Part II]] and made a couple of changes. I included time clauses to let you know at what point in the podcast they took place so you could rereview them if you so chose. The only edit, of the two, I think you might dispute with was a change where RDM is talking about people not wanting to use the Galactic zoom-out shot at the end of the epi. You had "The people- at work wanted to drop it at one point. I think David wanted to drop it at one point." I changed it to: "The people- '''the network''' wanted to drop it at one point. I think David wanted to drop it at one point." He kind of mumbles the words but I believe he says network but it really could be either one so if you disagree with my edit I have no qualms about changing it back, but I wanted to give you a heads up about the edit. BTW RDM says this at 47:22 in the podcast, since i was bringing it up here in your talk page I thought I'd give you the time to reply here as well.--[[User:Zarek Rocks|Zarek Rocks]] 11:38, 15 April 2007 (CDT)

User talk:Steelviper

2007-04-15T16:38:35Z

Zarek Rocks: Edits for Act 4 of Podcast Transcript for Crossroads, Part II

Archive from before the [http://www.battlestarwiki.org/en/index.php?title=User_talk:Steelviper&oldid=36970 Spam blizzard of '06] (March 10, 2006) 
Archive for the period [http://en.battlestarwiki.org/w/index.php?title=User_talk:Steelviper&oldid=82914 after the Blizzard through Shane's RFA success] (March 11,2006 - October 8, 2006)

==Podcast Transcripts==
Thanksyou for starting to write up the transcripts for the poscasts. I think that SciFi have blocked people outside of the US from downloading them (im getting 404 errors) so reading these will be very useful for me.

p.s I think it might be worth archiving your Talk page --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:12, 9 October 2006 (CDT)
:Actually, the everybody (todo el mundo) is getting the 404 errors from Scifi.com at present. I hit the sciffy boards and apparently they're working on it. Somebody posted a link to a weird format, and somebody later posted a link to the mp3. I'll find that thread, and link to it. Hopefully they get that fixed before too long.
:Nag, nag, nag. You're right, of course. I'll archive here in a sec. --[[User:Steelviper|Steelviper]] 11:15, 9 October 2006 (CDT)
::Archived. Fetching that link now. --[[User:Steelviper|Steelviper]] 11:19, 9 October 2006 (CDT)
::[http://mboard.scifi.com/showflat.php?Cat=0&Number=2209201&an=0&page=1&gonew=1#UNREAD The link.] (referenced above). I'm using the galacticastation mp3 (since I new that Express Scribe could handle mp3, but wasn't sure about m4a). --[[User:Steelviper|Steelviper]] 11:22, 9 October 2006 (CDT)
:::Thankyou ^_^ --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:28, 9 October 2006 (CDT)
::::You're welcome. Thanks for the archive reminder. I don't usually get enough traffic 'round here to justify archiving very often (which is evident given that's only my second archive). --[[User:Steelviper|Steelviper]] 11:30, 9 October 2006 (CDT)

FWIW, I think the problem w/ lack of beeps in the podcasts is that the m4a's have (silent) chapter markers. In iTunes there's a command to skip ahead or back a chapter (command-shift-right or left arrow on a Mac), and I understand the same is true on an iPod. Scifi is breaking each act into a chapter.--[[User:PrePressChris|PrePressChris]] 13:09, 25 October 2006 (CDT)
:Aha! Thanks! That makes sense. As a non-iPod/iTunes user I was baffled. Even finding a player for it was a bit of a challenge (fortunately VLC was up to the challenge). My biggest problem with m4a is that it's not compatible (at least out of the box) with Express Scribe. Fortunately an mp3 version was floated that covered most of the episode. As long as Scifi keeps putting out the mp3 versions complete with the beeps I'll be a happy camper. (I really didn't need the audio files broken down by act like they were, but it was handy for transcribing in small bites, and knowing ahead of time how long a given act would be.) --[[User:Steelviper|Steelviper]] 13:14, 25 October 2006 (CDT)

Go ahead with KBLGII. I have been ill for several weeks and transcription is one of the last things that I would feel like doing ;). --[[User:Gougef|FrankieG]] 18:02, 3 November 2006 (EST)
:It looks like you are on a roll. Since I'm still not 100%, go ahead with KBLGII. --[[User:Gougef|FrankieG]] 10:59, 17 November 2006 (CST)

Did you see RDM's blog entry? Aside from last week's and this week's podcasts, there's this coming up: ''The "Roundtable Discussion" as we're calling it, is a freewheeling discussion, and there are definitely times when there's too much cross-talk and too much laughter on the recording to discern anything coherent (especially in the beginning) but tucked in amid the revelry are some interesting and fascinating tidbits which I hope you'll enjoy. '' --[[User:PrePressChris|PrePressChris]] 17:39, 1 December 2006 (CST)
:Yeah. I wasn't that excited about the thought of transcribing that when I saw Mrs. Ron talking about posting it in the first place. It's already up as three parts of "Writer's Meeting" (in three parts). Since it's of the "writer's room" class of podcast, I figured it would go under the same heading as the writer's room podcast (which is to say, likely to be procrastinated on for a while since I'm rather frightened of the thought of all the cross-talk and MANY speakers). --[[User:Steelviper|Steelviper]] 20:36, 1 December 2006 (CST)
::I think that's one to leave off 'til we're caught up with this season, at least. --[[User:PrePressChris|PrePressChris]] 23:05, 1 December 2006 (CST)

::How have you remained sane while doing all this podcasts? I barely got one teaser out of myself. --[[User:Gougef|FrankieG]] 11:01, 8 December 2006 (CST)

:::I can't get certified insane if I avoid being diagnosed, right? Mostly I just try to break it up into managable chunks (3 minutes is a typical pull), and try to do a little bit every day. It really helps me (psychologically) when I know other people are working on it too, though. Having you, and Prepress, and Peter, and Shane (and everybody else) working on it makes it feel a lot more like a team effort. I'd love to find somebody to get a head start on the podcasts as they're released on Friday (I wait till I see an episode before starting on a podcast, and that's usually later in the weekend). I definitely feel faster when I'm completing one rather than starting from scratch. I just hope people are reading them. If we're just needing them for a line or two to cite in the episode articles, I could just transcribe those relevent excerpts in a lot less time than it takes to do a whole podcast. --[[User:Steelviper|Steelviper]] 11:14, 8 December 2006 (CST)
::::I'm using them, anyway. I was just able to quote that bit about having Dirk Benedict playing God thanks to them. (and Gouge, he's not crazy. He just has incredible, almost machine-like, endurance...) --[[User:PrePressChris|PrePressChris]] 16:12, 8 December 2006 (CST)

I noticed [[Podcast:Rapture|the Rapture podcast]] was not getting done, that's why I did it. I'm trying to get it done as fast as I can. I don't think I can have [[Podcast:Taking a Break From All Your Worries|the latest podcast]] transcribed before [[The Woman King|the next episode]] airs, so I recommend that if and when you have time, you start transcribing TaB so we won't interfere with each other. --[[User:Catrope|Catrope]] 13:16, 30 January 2007 (CST)
:BTW, if you're going to verify my transcriptions, would you please try to fill in the "(unintelligible)"s? I felt like I had quite a lot of them, especially in Act 2. --[[User:Catrope|Catrope]] 13:47, 31 January 2007 (CST)
::As a "transcriber", I'll try to prioritize my time towards transcribing the untranscribed first (working on "Taking a Break"), then fall back to verifying once we're caught up (or if I happen to be burned out on transcribing). You might drop a note to [[User:PrePressChris|PrePressChris]] as well, as he's been our ace verifier of late and he is extremely adept at converting all of my "unintelligible"'s into english. Don't feel the least bit bad about them, as they happen and that's really what verifiers are there for. Don't let those sections slow you down from getting the "meat" transcribed. We can always go back and clean up that stuff later. I find that if it's really important they will usually repeat themselves or otherwise repeat it in an intelligible manner. --[[User:Steelviper|Steelviper]] 14:00, 31 January 2007 (CST)

==Steelviper / Steel viper==
Mmm :-/ [[User talk:Steel viper]] --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 09:22, 11 December 2006 (CST)
:I noticed that when the user first signed up. I was alert for "impersonating an admin" type actions, but didn't really see anything along those lines. I don't imagine it will be much of a problem unless that user becomes more active. Your suggestion was appropriate as switching names is probably as much in their best interest as it is the wiki's. --[[User:Steelviper|Steelviper]] 09:31, 11 December 2006 (CST)

==Block of 81.177.14.26==
:On another wiki I visit has a massive spam attack by this ip advertising comerical spam from ''wikipost.info''. I searched for the [http://www.google.co.uk/search?hl=en&q=wikipost.info&btnG=Google+Search&meta= url of the spam] it was advertising and saw that it was crawling several other wikis posting large amounts of spam (2mb of text on each page). I felt that this preemptive block was neccesary on this occation. --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 09:27, 10 January 2007 (CST)
::In that case, it's fine. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 15:17, 10 January 2007 (CST)

==Congratulations==
^_^ --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 11:39, 19 January 2007 (CST)
:Thanks. It is a nice rifle, isn't it? Oh. The baby? Yeah, well that'll be a whole new adventure. --[[User:Steelviper|Steelviper]] 11:47, 19 January 2007 (CST)
::Congratulations! When can you get him or her on to do some editing? :) --[[User:Spencerian|Spencerian]] 12:05, 19 January 2007 (CST)
:::Possible record for youngest Battlestar Wiki member --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 12:13, 19 January 2007 (CST)
::::It'll be a race, no doubt. We're still at least a couple years from acceptable edits. Plus the mature nature of the content makes TOS and 1980 far more likely candidates for viewing of the editor-to-be than RDM, presently. --[[User:Steelviper|Steelviper]] 12:20, 19 January 2007 (CST)
:::::The question is: Will you bring up your son/daughter to not know that Galactica 1980 exists and that TOS and RDM are the only episodes ever made? Perhaps they will be happier having never seen or heard of the travesty that is 1980? --[[User:Mercifull|Mercifull]] ([[User talk:Mercifull|Talk]]/[[Special:Contributions/Mercifull|Contribs]]) 12:22, 19 January 2007 (CST)

==Galactica Squadrons==
While re-watching Act of Contrition I noticed a few more Galactica squadrons shown on the walls in the pilots' ready room. In the beginning of the ep when Adama enters, he touches the "Lest We Forget" picture then passes a squadron crest labeled "Vampires". A minute or two later, when we see Sgt. Hadrian standing against the wall, we can clearly see 7th Squadron "Battleaxe" and 4th squadron "Demons" on the wall behind her. How could one go about adding this to the wiki?[[User:AnteaterFeeder|AnteaterFeeder]] 21:04, 20 January 2007 (CST)
:You can just create an article. <code>/wiki/Vampire squadron</code> -- then just create it. :-) Check out [[BW:MARK]] [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 21:13, 20 January 2007 (CST)
::I recall seeing some of these squadrons (and their associated patches) floating around in some of the signatures of folks at the scifi.com bulletin boards and elsewhere. There's not much info to be had, so rather than creating a tiny article for each of those, maybe we should consider [[Squadrons of Galactica]] or [[Squadrons of the Colonial Fleet]] that lists out all the squadron names and insignia that we can find, with possible redirects to that article from the individual unit names. Maybe we should bring this up at List of Pilots (RDM) or a similar article, to see if we can find some other hands? --[[User:Steelviper|Steelviper]] 21:25, 20 January 2007 (CST)
:::That sounds like a good idea-- the "Galactica Squadrons" page. I wouldn't know how to go about making that page. I'm still pretty new at this. I did however note that the Vampires are the 6th squadron as well as an 8th squadron (an 8 on a red spade), and a Viper Weapons School logo on the walls too. I will bring this up in the list of pilots page. {{unsigned|AnteaterFeeder}}
:::Agreed, one page for all squadrons is better. That can then incoporate the info found at [[Primus]] and [[Vigilantes]] now --[[User:Serenity|Serenity]] 05:49, 21 January 2007 (CST)
::::I tried to post this last night (blasted internet), but something like [[Squadrons of Battlestar Galactica]] works. I've been collecting screenshots of the logos when I could trying to identify them, but unfortunately, most are too blurry to read with NTSC DVDs. There is also some good shots of crests during the debate scene in LDYB part I. Finally, there is also a crest for a "Viper Weapons School", presumably the colonial equivelant of the [[w:United States Naval Fighter Weapons School|US Naval Fighter Weapons School]], aka TOPGUN. This could be mentioned in the Colonial fleet article. --[[User:Talos|Talos]] 06:40, 21 January 2007 (CST)

I'll go ahead and create the article, by moving the Primus and Vigilante stuff there. Then someone else can add the others. EDIT: It can be found at [[Squadrons of Galactica]], and maybe we should move further discussion there :) --[[User:Serenity|Serenity]] 06:49, 21 January 2007 (CST)

== Email ==

Umm... your's isn't a forward. :-) [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 14:54, 2 February 2007 (CST)

== Troyian User Page ==

*Thanks for the suggestion! I wasn't aware we could create subpages of our user pages. -- [[User:Troyian|Troyian]] 09:33, 9 February 2007 (CST)

== Podcast info ==

* Info came from the extended podcast. There's no available normal podcast. --[[User:LifeStar|LifeStar]] 08:56, 21 February 2007 (CST)
:Hopefully a "normal" one will be released later (at least that's the way it seemed from the post they put up at the Scifi forums). If that occurs it might help to distinguish which podcast that info came from. Nice find, by the way. That one was confusing us over here. --[[User:Steelviper|Steelviper]] 08:59, 21 February 2007 (CST)

== [[User:StarNeptune]] ==

Coincidentally, I just noticed your comment to this user on recent changes. That StarNeptune is almost certainly an impostor: I have never met the real StarNeptune in reality, only on Wookieepedia. That user is most likely a serial vandal from Wookieepedia and Wikipedia who's gone around impersonating and harassing people on other wikis. I don't know if you have checkuser, but if you do you'll likely find that the StarNeptune you were talking to is using either an open proxy or an ISP in Italy.

If you want, you can leave a message for StarNeptune on Wookieepedia to confirm this. Cheers, —[[User: Silly Dan|Silly Dan]] [[User talk:Silly Dan|(talk)]] 11:14, 30 March 2007 (CDT)
:Whoops. I have the unfortunate habit of taking people at their word most of the time, and I occasionally get burned. I don't have checkuser, but I'll keep a close eye on that user. Thanks for the heads up. --[[User:Steelviper|Steelviper]] 11:29, 30 March 2007 (CDT)

:I ''do'' have checkuser, and will try to make a cursory check on this user and let you know. There is no policy for user names between wikis, but there ''is'' a policy on inpersonating someone, which this user is obviously doing. --[[User:Spencerian|Spencerian]] 14:23, 30 March 2007 (CDT)

==Thanks==
Thanks for the help cleaning up the Kobol links after the split. Much appreciated. There's a ton of them! [[User:JubalHarshaw|JubalHarshaw]] 15:02, 13 April 2007 (CDT)
:No, thank you! Such mopping is pretty much expected of sysops, but it's guys like you that help keep this place running. Speaking of which... --[[User:Steelviper|Steelviper]] 16:37, 13 April 2007 (CDT)

::I have offered him the [[Battlestar Wiki:Requests for adminship/JubalHarshaw|red mop]], but he must ''choose'' to mop with it... --[[User:Spencerian|Spencerian]] 18:28, 13 April 2007 (CDT)
==Minor Changes to Act 4 of podcast for Crossroads, Part II==
I just wanted to let you know that I reviewed act 4 of the transcript for [[Podcast:Crossroads, Part II|Crossroads, Part II]] and made a couple of changes. I included time clauses to let you know at what point in the podcast they took place so you could rereview them if you so chose. The only edit, of the two, I think you might dispute with was a change where RDM is talking about people not wanting to use the Galactic zoom-out shot at the end of the epi. You had "The people- at work wanted to drop it at one point. I think David wanted to drop it at one point." I changed it to: "The people- '''the network''' wanted to drop it at one point. I think David wanted to drop it at one point." He kind of mumbles the words but I believe he says network but it really could be either one so if you disagree with my edit I have no qualms about changing it back, but I wanted to give you a heads up about the edit.--[[User:Zarek Rocks|Zarek Rocks]] 11:38, 15 April 2007 (CDT)

Battlestar Wiki:Podcast Transcripts

2007-04-15T16:31:25Z

Zarek Rocks: /* Crossroads, Part II */ Verified

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/320/bsg_ep320_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 10 April 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:07, 11 April 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 22:30, 11 April 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:00, 12 April 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:39, 13 April 2007 (CDT). Verified: --[[User:Zarek Rocks|Zarek Rocks]] 11:31, 15 April 2007 (CDT).)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Podcast:Crossroads, Part II

2007-04-15T16:29:10Z

Zarek Rocks: /* Act 4 */ Forgot one minor edit

{{Podcastinpro}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

Terry: Well and I said this just the other day.

RDM: Now everybody's ripping apart his ass.

Terry: And now everybody is ripping apart George Bush all over the....Oh, see how bad Iraq is and yet, where were they when we were going in? And now it's just his fault?

RDM: We went into Iraq with an overwhelming majority of the American people's support. I was not one of those people but

Terry: But the point is,

RDM: The point is

Terry: and and all the politicains

RDM: And now everybody wants to run away

Terry: there was not a [[w:Democratic Party|democrat]] who was willing to say he was wrong.

RDM: And everybody wants to run away from it.

Terry: Yep.

RDM: So in some ways that did inform it, but it's not a direct allegory to this trial, to the issues of this trial obviously. But the idea that they all participated in it, they all did it, they've all forgiven each other. But not this guy because we don't like you very much.

Terry: We need somebody we didn't like.

RDM: And ultimately, there's altruism in that. There's this notion in our culture, that once we decide we don't like somebody that's it. That's what they said about Marth Stewart. Martha Stewart was convicted because she's a bitch, she wasn't convicted for much else.

Terry: Well I was going to ask you this. There's a lot of discussion about the sort of slide under the rug that you give to some of the characters. When they commit, y'know, infractions that wouldn't go.

RDM: We talk extensively about each one of those things. There's been a lot of fan comment about the fact that [[Karl C. Agathon|Helo]] was not punished, well Adama's heart was not in the situation.

Terry: or [[Kara Thrace|Starbuck]]

RDM: Adama's heart was not in the situation. Adama didn't really want to commit genocide he was happy that they just didn't commit suicide that day and wasn't going to dig any further. I guess on one level you could say well that's an infraction of the rules. and that's wrong and that's immoral and Helo should have been charged. But in this Rag Tag Fleet in this "gang" as Lee puts it they are making up the rules. And Adama decided in that case, his sense of morality told him he's glad about what he did on some level and wasn't going to push it and that's the bottom line. And same with Starbuck and the rest of them they are kind of making up the rules as they go along and they have to decide what rules they are going to uphold.


Terry: Well and again in a situation like this, this show's about the constant examination about the structure of society. About which things work and which things don't. Gee you might be against abortion in this circumstance but under this one are you still? So, can you be so black and white and arbitrary and say these are the rules we will follow them at all costs.

RDM: And I think it was interesting, in terms of the specific during the trial, what could they really convict Baltar of?

Terry: Right.

RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies (RDM)|the twelve colonies]] was something the audience witnessed happened and no one else knows about. Laura saw him, the most Laura could say was that she had a vision where she saw him with the [[Number Six|blond cylon]] and that's it. So there was no charge there.

Terry: While she was on [[Chamalla|watchamacallit]]

RDM: While she was on drugs, so that doesn't hold water. And the rest of it

Terry: Nobody saw him give the warhead to Six.

RDM: Oh uh to Gina, the warhead? Yah, nobody saw that. Nobody tracks him back to that crime specifically. So they didn't have a lot, but they disliked him like the audience dislikes him. So I wanted to play on that
to sort of make you question whether sometimes the quest for justice is really a quest for vengance.

Terry: Well and also what does it mean when it is the audience who did see him give the warhead to Caprica-Six to know that he's guilty. You know that he's guilty but you have to allow the legal system to do what it does.

RDM: Cause otherwise there's no point in having it.

Terry: It's like watching instant replay in baseball even though you could see that the guy was out.

RDM: Yah, the umpire called it.

Terry: The umpire called it.

RDM: There was a version of the story, in fact it was the first draft in the initial stories where we were not going to give a verdict before the end. That Baltar was either going to yank his plea before they rendered a verdict or the attack was going to happen before they rendered the verdict and we were going to go out on the season with Baltar, his fate not completely resolved. [[Michael Rymer|Michael Rymer]] and [[David Eick|David Eick]] were up in arms about it about the idea that we had to bring resolution to it by the end. I didn't personally think you did, I thought a cliffhanger's a cliffhanger's a cliffhanger. You could go out whenever you felt like going out; you could leave as many threads hanging as you want, but eventually I acquiesced ok let's give Baltar resolution. That was probably in retrospect the right decision because it allows this episode to bring this storyline to conclusion before we move into the whole [[Cylons (RDM)|Cylons]], the revelation of the [[Final five|final four]] Cylons section. End of the act.

== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't under- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill her here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- the network wanted to drop it at one point. I think David wanted to drop it at one point. And I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.

Podcast:Crossroads, Part II

2007-04-15T16:27:35Z

Zarek Rocks: Reviewing podcast transcript for ACt 4 of Crossroads, Part II

{{Podcastinpro}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

Terry: Well and I said this just the other day.

RDM: Now everybody's ripping apart his ass.

Terry: And now everybody is ripping apart George Bush all over the....Oh, see how bad Iraq is and yet, where were they when we were going in? And now it's just his fault?

RDM: We went into Iraq with an overwhelming majority of the American people's support. I was not one of those people but

Terry: But the point is,

RDM: The point is

Terry: and and all the politicains

RDM: And now everybody wants to run away

Terry: there was not a [[w:Democratic Party|democrat]] who was willing to say he was wrong.

RDM: And everybody wants to run away from it.

Terry: Yep.

RDM: So in some ways that did inform it, but it's not a direct allegory to this trial, to the issues of this trial obviously. But the idea that they all participated in it, they all did it, they've all forgiven each other. But not this guy because we don't like you very much.

Terry: We need somebody we didn't like.

RDM: And ultimately, there's altruism in that. There's this notion in our culture, that once we decide we don't like somebody that's it. That's what they said about Marth Stewart. Martha Stewart was convicted because she's a bitch, she wasn't convicted for much else.

Terry: Well I was going to ask you this. There's a lot of discussion about the sort of slide under the rug that you give to some of the characters. When they commit, y'know, infractions that wouldn't go.

RDM: We talk extensively about each one of those things. There's been a lot of fan comment about the fact that [[Karl C. Agathon|Helo]] was not punished, well Adama's heart was not in the situation.

Terry: or [[Kara Thrace|Starbuck]]

RDM: Adama's heart was not in the situation. Adama didn't really want to commit genocide he was happy that they just didn't commit suicide that day and wasn't going to dig any further. I guess on one level you could say well that's an infraction of the rules. and that's wrong and that's immoral and Helo should have been charged. But in this Rag Tag Fleet in this "gang" as Lee puts it they are making up the rules. And Adama decided in that case, his sense of morality told him he's glad about what he did on some level and wasn't going to push it and that's the bottom line. And same with Starbuck and the rest of them they are kind of making up the rules as they go along and they have to decide what rules they are going to uphold.


Terry: Well and again in a situation like this, this show's about the constant examination about the structure of society. About which things work and which things don't. Gee you might be against abortion in this circumstance but under this one are you still? So, can you be so black and white and arbitrary and say these are the rules we will follow them at all costs.

RDM: And I think it was interesting, in terms of the specific during the trial, what could they really convict Baltar of?

Terry: Right.

RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies (RDM)|the twelve colonies]] was something the audience witnessed happened and no one else knows about. Laura saw him, the most Laura could say was that she had a vision where she saw him with the [[Number Six|blond cylon]] and that's it. So there was no charge there.

Terry: While she was on [[Chamalla|watchamacallit]]

RDM: While she was on drugs, so that doesn't hold water. And the rest of it

Terry: Nobody saw him give the warhead to Six.

RDM: Oh uh to Gina, the warhead? Yah, nobody saw that. Nobody tracks him back to that crime specifically. So they didn't have a lot, but they disliked him like the audience dislikes him. So I wanted to play on that
to sort of make you question whether sometimes the quest for justice is really a quest for vengance.

Terry: Well and also what does it mean when it is the audience who did see him give the warhead to Caprica-Six to know that he's guilty. You know that he's guilty but you have to allow the legal system to do what it does.

RDM: Cause otherwise there's no point in having it.

Terry: It's like watching instant replay in baseball even though you could see that the guy was out.

RDM: Yah, the umpire called it.

Terry: The umpire called it.

RDM: There was a version of the story, in fact it was the first draft in the initial stories where we were not going to give a verdict before the end. That Baltar was either going to yank his plea before they rendered a verdict or the attack was going to happen before they rendered the verdict and we were going to go out on the season with Baltar, his fate not completely resolved. [[Michael Rymer|Michael Rymer]] and [[David Eick|David Eick]] were up in arms about it about the idea that we had to bring resolution to it by the end. I didn't personally think you did, I thought a cliffhanger's a cliffhanger's a cliffhanger. You could go out whenever you felt like going out; you could leave as many threads hanging as you want, but eventually I acquiesced ok let's give Baltar resolution. That was probably in retrospect the right decision because it allows this episode to bring this storyline to conclusion before we move into the whole [[Cylons (RDM)|Cylons]], the revelation of the [[Final five|final four]] Cylons section. End of the act.

== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't u- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill her here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- the network wanted to drop it at one point. I think David wanted to drop it at one point. And I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.

Talk:Humanoid Cylon speculation/Archive4

2007-04-14T21:14:27Z

Zarek Rocks: /* Isn't "Reboot" or "Deletion" Jumping the Gun? */

:''For discussions prior to October 13, 2006, [http://en.battlestarwiki.org/w/index.php?title=Talk:Cylon_agent_speculation&oldid=83992 see this revision.]

:''For discussions prior to March 13, 2007, [http://en.battlestarwiki.org/w/index.php?title=Talk:Humanoid_Cylon_speculation&oldid=113030 see this revision.]

{{talk page warning}}

==Archived Page==
I had to archive this page as it was three times larger than some browsers could read. I know that this is a very popular page, but please limit the discussion to the criteria and reasoning behind a character's suspicion. --[[User:Spencerian|Spencerian]] 10:04, 14 March 2007 (CDT)

== Romo Lampkin's entry ==

I truncated Lampkin's entry to its basic points and moved him to "low' probability. By the nature of the show, almost ''everyone'' is a suspect. Lampkin's demeanor is suspicious, but so is/was [[Tom Zarek]], [[Phelan]], [[Valance]], and many, many other antagonists in the show. "Creepy" is not a qualifier, per se. The point of association with Joseph Adama is of particular note for possibie disqualification if we can verify his time of death. Based on conversations with the surviving Adamas, it appears that the senior Adama died some time (>2 years) before the Cylon genocide, but we can't verify a time. If anything, for someone who actually ''knew'' Joseph Adama to be a survivor of the Fleet, like [[Ellen Tigh]]'s mysterious rescue, is a matter of question. --[[User:Spencerian|Spencerian]] 10:54, 14 March 2007 (CDT)

== Statement on Death ==

I have changed the following line:

<blockquote>''As only a humanoid Cylon can "return" from the dead, any human character that dies is instantly disqualified from suspicion. If the character returns in a manner other than being seen in a "flashback" scene or episode, then it is <strike>probable</strike> possible that the character is a Cylon.''</blockquote>

The reason for this is due to the return of Starbuck, who due to her arrival and Apollo's reaction, we are not sure if she is human, Cylon, or even a delusion in his mind at this time.--[[User:Mitsukai|み使い]] ''[[User_talk:Mitsukai|Mitsukai]]'' 21:13, 27 March 2007 (CDT)

==All Males Should Be In Low Probability==
I think we should consider all male suspects to be in the lowest possible suspicion level since the number of males is already greater than that of females, and I doubt they would go as far as unbalancing it even more. Doesn't mean they can't be, but it does mean it's a lot less probable that they are Cylons. --[[User:Sauron18|Sauron18]] 22:39, 27 March 2007 (CDT)
:Three's drawings were of three males and two females, yes? --[[User:Peter Farago|Peter Farago]] 23:36, 27 March 2007 (CDT)
::I can't really tell, but I'm mainly basing my comment on the fact that it would be extremely disproportionate to have 8 Males and 4 females....--[[User:Sauron18|Sauron18]] 23:41, 27 March 2007 (CDT)
:::Maybe it's meant to be the reverse of the human female to male ratio, where it's (as the Beach Boys have said) "two girls for every boy....". Seriously, there may be a reason why such a disparity exists, and in any case, I'm not sure that gender plays a factor in how things will transpire, as it hasn't played a factor in how things have happened thus far.--[[User:Mitsukai|み使い]] ''[[User_talk:Mitsukai|Mitsukai]]'' 00:13, 28 March 2007 (CDT)

==Kara Thrace==
According to Katee Sackhoff she was one of the few actors told she wasn't a Cylon.([http://img175.imageshack.us/img175/8547/redeye3copyci7.jpg Source]) I think this statement is enough to remove her from the list because Ronald D. Moore has already made up his mind as to who the fifth Cylon is (see note at the article about the [[Final five]]). --[[User:Gen00b|Gen00b]] 09:32, 28 March 2007 (CDT)

==Major Revision Needed==
I think this page should be replaced with an article concerning the remaining twelfth Cylon specifically. No character should be admitted to speculation without some sort of affirmative cause for suspicion - straight off the top of my head, that would include just Starbuck and Roslin. We should also re-evaluate our elimination criteria:
*Obviously biological offspring can no longer eliminate a character from suspicion, unless their partner is known to be a Cylon.
*Humanoid Cylons existed at least as early as 30 years prior to the third season, since that's how long Adama has known Tigh.
--[[User:Peter Farago|Peter Farago]] 13:14, 28 March 2007 (CDT)

== Suggested name for the last Cylon "#1" ==

OK, we don't actually know the numbers of any of the new 4 Cylons or even for Simon and Cavil, and RDM has said they were essentially assigned at random.

But I'm proposing a fun name, in homage to the Prisoner, for the last Cylon on the wiki should be #1. Since I would be really, really surprised if that is not indeed the number and role of this last Cylon anyway. Better than "12th Cylon" though I guess "Final Cylon" is OK. Strictly speaking, RDM could create more than 12 but for now that's how many he's said are there. Of course, there is another possible special Cylon out there, namely a humanoid incarnation of the Cylon God, a Cylon Jesus if you will. (I would pick Baltar as this -- not a Cylon, but much more.)

Or are people against #1 as a designation on the off chance that might not turn out to be its number?--[[User:Bradtem|Bradtem]] 01:03, 29 March 2007 (CDT)
:While the ''Prisoner'' reference is valid, I think it'd probably be jumping the gun to assign a number. "Final Cylon" is OK for now, I guess. Especially as it relates to "Final Five". --[[User:Steelviper|Steelviper]] 07:37, 29 March 2007 (CDT)

== The Eight Cylons in the fleet ==
While recogizing this isn't a chat forum, I think the following is reasonable fodder for speculation. You'll remember in ''[[Resistance (episode)|Resistance]]'' that [[Sharon Valerii|Boomer]] said there were eight Cylons in the fleet. Assuming that she somehow had access to this information despite not being able to identify any of the Final Five or even all of the original seven, let's try to reconcile this with present knowledge.

Cylons who are ''not'' in the fleet at the time include [[Sharon Agathon|Athena]], [[Samuel Anders|Anders]], and [[Gina]], as they arrived later. Those now known to Cylons who were in the fleet at the time are:

*Boomer herself
*[[D'Anna Biers]]
*The [[Cavil]] copy who later counselled Tyrol
*[[Saul Tigh]]
*[[Tory Foster]]
*[[Galen Tyrol]]

You'll notice this totals to six. Of the remaining two, one is probably the final unrevealed Final Fiver. Note this suggests that this Cylon is not [[Kara Thrace|Starbuck]], since she was on Caprica at the time.

As for the other, my best guess is [[Shelly Godfrey]], though if so she'd been hiding superbly well. I suppose there could also have been a [[Simon]] lurking about somewhere, though if so we ought to have been told after his cover was blown when Starbuck returned. --[[User:Saforrest|Saforrest]] 09:56, 29 March 2007 (CDT)
:There may still have been a Simon hanging around somewhere, Starbuck didn't exactly take a picture of him. In a 45k-population, avoiding one person is not that hard to do. Also keep in mind that D'Anna wasn't unmasked upon Anders' return for the same reason. Both could've easily avoided Anders' resistance group during the year on New Caprica, after which they'd blend in with the other Cylons during the occupation. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:40, 29 March 2007 (CDT)
::Since the 7 know nothing of the identities or activites of the five, she _should_ have just been guessing. Sharon would know the total count of 12, but should have had no reason to know Anders was on Caprica and four others were on board, unless we have been incorrectly informed about their non-knowledge of the F5. #3 and #6 certainly know nothing of them besides their count.--[[User:Bradtem|Bradtem]] 13:55, 29 March 2007 (CDT)
:::She might've known how many of the Five there were, after all the reason why the Seven don't know their faces is because of their programming. Baltar was seriously messing with Boomer's programming, and I wouldn't be surprised if he managed to access the deepest places. --[[User:Sauron18|Sauron18]] 17:51, 29 March 2007 (CDT)
::Well, we don't know when Biers was caught out because it happened off-camera: it could have been anytime in the year interlude during [[Lay Down Your Burdens, Part II]] between Anders' arrival till the Cylon conquest. I would assume that, for both Ander and Starbuck, the Colonials would be smart enough to sit people down after they return and at least get police composites drawn. --[[User:Saforrest|Saforrest]] 19:05, 30 March 2007 (CDT)

== article reboot ==

Due to the fact that everything we known about the Humanoid Cylons has been thrown into the loop, I've started work on a "rebooted" version of the article, which can be [[Humanoid Cylon speculation/Reboot|found here]]. Please discuss and modify this version as needed. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 15:21, 8 April 2007 (CDT)
:Agreed. And when we finish the reboot we delete this version. 12:08, 10 April 2007 (CDT)
::Honestly we may as well delete this article. The fact that one of the Cylons ''fought in the first war on the human side'' really makes all of our points moot. --[[User:BklynBruzer|BklynBruzer]] 13:02, 10 April 2007 (CDT)
:::I keep needing to point this out - Tigh's history cannot be verified prior to his meeting with Adama. The Cylons were able to place Boomer in the Fleet with a convincing backstory; they could have done so with Tigh just as easily. --[[User:Peter Farago|Peter Farago]] 18:46, 13 April 2007 (CDT)
:I was never a fan of this article in the first place, but as said "Crossroads" really makes this pointless until we get some more information in Season 4 --[[User:Serenity|Serenity]] 13:05, 10 April 2007 (CDT)
:::Agreed! Let us wash this away and start anew! [[User:JubalHarshaw|JubalHarshaw]] 13:31, 10 April 2007 (CDT)
::::[[w:Daleks|EXTERMINATE! EXTERMINATE!]] (Dang it if I didn't start it all many moons ago with this [[Baltar as Cylon speculation|Baltar thing]]. Alrighty, then: [[w:Total Party Kill|rocks fall, everybody dies!]] --[[User:Spencerian|Spencerian]] 14:08, 10 April 2007 (CDT)
:I'll give this until the 15th to see whether or not anyone objects. Not that I see much in the way of that happening, myself. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 14:28, 10 April 2007 (CDT)

Let me start the counter argument (against total deletion but for reboot.) I feel that BSG is both a mystery and an SF show, and an important function for a Wiki like this is to document facts from Canon, official sources and reality to help viewers appreciate and understand the show. That includes both the SF and mundane aspects, but also its mysteries. Many people fear that speculating regarding the mysteries will lead to too much fanwanking, and that's a legitimate fear, but it's a mistake to go too far out of fear and conclude documenting the mysteries and clues should not be done.

This page was a failure before, but from a sort of "reverse fanwanking." Many folks ignored strong clues that the rules for the final five were very different from the significant seven. They assumed that the Final Five followed the same rules as the existing 7, which turned out to be the ungrounded speculation. My own correct assertions that this was the case were removed, but I'm not simply trying to say "told you so" here. I'm trying to point out if correct (and it turns out highly critical) information is removed, the process that led to that should be examined. I'm trying to say that appreciating a show of this sort requires giving in a bit to imagination. One must find the right balance to moderate, rather than stamp out, speculation on the mysteries.

I would actually recommend a series of pages about the major mysteries of the show and encourage the collection of not speculation of the mysteries, but the documented "facts" that will allow viewers to come to their own speculations and conclusions. The wiki should provide the foundation for one's own personal speculation. Yes, some people will overdo it, and start putting in invented theories, but I think they can be handled -- especially if there is a policy page that explains that the way you express a theory is to summarize the canonical clues, but not the conclusions (except in a broad sense, such as you're in a section entitled "Cylon speculation for Character X")

(There are other approaches too. For example, heroeswiki does a remarkably good job by simply having associated 'fan theory' pages where people can go fairly wild, and they hardly get any of it in the main pages.)--[[User:Bradtem|Bradtem]] 17:48, 10 April 2007 (CDT)

: I suppose we could attempt this approach, but we need to run it through the [[BW:TANK|Think Tank]] to gain a larger consensus. -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 18:53, 13 April 2007 (CDT)

== Isn't "Reboot" or "Deletion" Jumping the Gun? ==

Sorry all, this is my first participation in the discussion here, but I felt it kinda necessary. We still don't know the Final Five or whether this "activation" really happened. The music never was playing when Boomer was activated, for example. We don't even know whether Kara died or what was in the cockpit. All of this is only assumption based on what we've been shown so far. I, personally, do not think that any of the main characters shown were the Final Five -- all the five were on New Caprica and we have yet to really know everything that happened down there. I'd leave this up until the facts have been corroborated that they are Cylons. Just my two bits, I'll quiet down now.--[[User:Tstevens20|Tstevens20]] 15:36, 14 April 2007 (CDT)
:The producers have confirmed that they are Cylons in interviews. And the music didn't necessarily "activate" them. The two are connected, but the music is just the reason why they realized that they are or might be Cylons. --[[User:Serenity|Serenity]] 15:43, 14 April 2007 (CDT)
:RDM said the 4 are. Kara, I dunno. --[[User:BklynBruzer|BklynBruzer]] 15:44, 14 April 2007 (CDT)
::Although I agree that in numerous sources we have all of the powers involved (Although Katee Sackhoff and RDM in interviews had said Starbuck was dead and not coming back when in reality she was returning) in the production of the show confirming that we know the identity of four of the final five I think it is premature to completely rid ourselves of this page. The page seems to be appropriately designed to allow for continued speculation on the Final Cylon. Once we know the identity of the last Cylon I would agree to the deletion of this page but since we still have one unknown I think we should keep this page as it is.--[[User:Zarek Rocks|Zarek Rocks]] 16:14, 14 April 2007 (CDT)

Battlestar Wiki:Podcast Transcripts

2007-04-14T20:43:46Z

Zarek Rocks: finished podcast transcription

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/320/bsg_ep320_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 10 April 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:07, 11 April 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 22:30, 11 April 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:00, 12 April 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:39, 13 April 2007 (CDT). Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Podcast:Crossroads, Part II

2007-04-14T04:25:00Z

Zarek Rocks: Finished with Act 2 of Podcast Transcript for Crossroads Part II

{{Podcastinpro}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

Terry: Well and I said this just the other day.

RDM: Now everybody's ripping apart his ass.

Terry: And now everybody is ripping apart George Bush all over the....Oh, see how bad Iraq is and yet, where were they when we were going in? And now it's just his fault?

RDM: We went into Iraq with an overwhelming majority of the American people's support. I was not one of those people but

Terry: But the point is,

RDM: The point is

Terry: and and all the politicains

RDM: And now everybody wants to run away

Terry: there was not a [[w:Democratic Party|democrat]] who was willing to say he was wrong.

RDM: And everybody wants to run away from it.

Terry: Yep.

RDM: So in some ways that did inform it, but it's not a direct allegory to this trial, to the issues of this trial obviously. But the idea that they all participated in it, they all did it, they've all forgiven each other. But not this guy because we don't like you very much.

Terry: We need somebody we didn't like.

RDM: And ultimately, there's altruism in that. There's this notion in our culture, that once we decide we don't like somebody that's it. That's what they said about Marth Stewart. Martha Stewart was convicted because she's a bitch, she wasn't convicted for much else.

Terry: Well I was going to ask you this. There's a lot of discussion about the sort of slide under the rug that you give to some of the characters. When they commit, y'know, infractions that wouldn't go.

RDM: We talk extensively about each one of those things. There's been a lot of fan comment about the fact that [[Karl C. Agathon|Helo]] was not punished, well Adama's heart was not in the situation.

Terry: or [[Kara Thrace|Starbuck]]

RDM: Adama's heart was not in the situation. Adama didn't really want to commit genocide he was happy that they just didn't commit suicide that day and wasn't going to dig any further. I guess on one level you could say well that's an infraction of the rules. and that's wrong and that's immoral and Helo should have been charged. But in this Rag Tag Fleet in this "gang" as Lee puts it they are making up the rules. And Adama decided in that case, his sense of morality told him he's glad about what he did on some level and wasn't going to push it and that's the bottom line. And same with Starbuck and the rest of them they are kind of making up the rules as they go along and they have to decide what rules they are going to uphold.


Terry: Well and again in a situation like this, this show's about the constant examination about the structure of society. About which things work and which things don't. Gee you might be against abortion in this circumstance but under this one are you still? So, can you be so black and white and arbitrary and say these are the rules we will follow them at all costs.

RDM: And I think it was interesting, in terms of the specific during the trial, what could they really convict Baltar of?

Terry: Right.

RDM: What crime had he actually committed that she could be charged and convicted of. The attack on [[The Twelve Colonies (RDM)|the twelve colonies]] was something the audience witnessed happened and no one else knows about. Laura saw him, the most Laura could say was that she had a vision where she saw him with the [[Number Six|blond cylon]] and that's it. So there was no charge there.

Terry: While she was on [[Chamalla|watchamacallit]]

RDM: While she was on drugs, so that doesn't hold water. And the rest of it

Terry: Nobody saw him give the warhead to Six.

RDM: Oh uh to Gina, the warhead? Yah, nobody saw that. Nobody tracks him back to that crime specifically. So they didn't have a lot, but they disliked him like the audience dislikes him. So I wanted to play on that
to sort of make you question whether sometimes the quest for justice is really a quest for vengance.

Terry: Well and also what does it mean when it is the audience who did see him give the warhead to Caprica-Six to know that he's guilty. You know that he's guilty but you have to allow the legal system to do what it does.

RDM: Cause otherwise there's no point in having it.

Terry: It's like watching instant replay in baseball even though you could see that the guy was out.

RDM: Yah, the umpire called it.

Terry: The umpire called it.

RDM: There was a version of the story, in fact it was the first draft in the initial stories where we were not going to give a verdict before the end. That Baltar was either going to yank his plea before they rendered a verdict or the attack was going to happen before they rendered the verdict and we were going to go out on the season with Baltar, his fate not completely resolved. [[Michael Rymer|Michael Rymer]] and [[David Eick|David Eick]] were up in arms about it about the idea that we had to bring resolution to it by the end. I didn't personally think you did, I thought a cliffhanger's a cliffhanger's a cliffhanger. You could go out whenever you felt like going out; you could leave as many threads hanging as you want, but eventually I acquiesced ok let's give Baltar resolution. That was probably in retrospect the right decision because it allows this episode to bring this storyline to conclusion before we move into the whole [[Cylons (RDM)|Cylons]], the revelation of the [[Final five|final four]] Cylons section. End of the act.

== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't u- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill he here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- at work wanted to drop it at one point. I think David wanted to drop it at one point. ANd I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.

Podcast:Crossroads, Part II

2007-04-13T16:23:35Z

Zarek Rocks: /* Act 2 */ of podcast thru 24:17

{{Podcastinpro}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

Terry: Well and I said this just the other day.

RDM: Now everybody's ripping apart his ass.

Terry: And now everybody is ripping apart George Bush all over the....Oh, see how bad Iraq is and yet, where were they when we were going in? And now it's just his fault?

RDM: We went into Iraq with an overwhelming majority of the American people's support. I was not one of those people but

Terry: But the point is,

RDM: The point is

Terry: and and all the politicains

RDM: And now everybody wants to run away

Terry: there was not a [[w:Democratic Party|democrat]] who was willing to say he was wrong.

RDM: And everybody wants to run away from it.

Terry: Yep.

RDM: So in some ways that did inform it, but it's not a direct allegory to this trial, to the issues of this trial obviously. But the idea that they all participated in it, they all did it, they've all forgiven each other. But not this guy because we don't like you very much.

Terry: We need somebody we didn't like.

RDM: And ultimately, there's altruism in that. There's this notion in our culture, that once we decide we don't like somebody that's it. That's what they said about Marth Stewart. Martha Stewart was convicted because she's a bitch, she wasn't convicted for much else.

Terry: Well I was going to ask you this. There's a lot of discussion about the sort of slide under the rug that you give to some of the characters. When they commit, y'know, infractions that wouldn't go.

RDM: We talk extensively about each one of those things. There's been a lot of fan comment about the fact that [[Karl C. Agathon|Helo]] was not punished, well Adama's heart was not in the situation.

Terry: or [[Kara Thrace|Starbuck]]

RDM: Adama's heart was not in the situation. Adama didn't really want to commit genocide he was happy that they just didn't commit suicide that day and wasn't going to dig any further. I guess on one level you could say well that's an infraction of the rules. and that's wrong and that's immoral and Helo should have been charged. But in this Rag Tag Fleet in this "gang" as Lee puts it they are making up the rules. And Adama decided in that case, his sense of morality told him he's glad about what he did on some level and wasn't going to push it and that's the bottom line. And same with Starbuck and the rest of them they are kind of making up the rules as they go along and they have to decide what rules they are going to uphold.



== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't u- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill he here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- at work wanted to drop it at one point. I think David wanted to drop it at one point. ANd I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.

Podcast:Crossroads, Part II

2007-04-13T15:38:10Z

Zarek Rocks: Act 2 of podcast thru 21:50

{{Podcastinpro}}

== Teaser ==
RDM: Hello, and welcome to the podcast. This is [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']]. I'm joined here by the lovely and talented [[Terry Dresbach|Mrs. Ron]]. Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron.

RDM: And we're here to do the much talked about and much delayed final podcast of [[Season 3 (2006-07)|season three]] for "[[Crossroads, Part II]]". The Scotch today is [[w:Highland Park Single Malt|Highland Twenty-five]], which was a gift from my lovely wife. The smokes are [[w:Natural American Spirit|American Spirit]], and the smoking lamp [lights cigarette] is lit.

Terry: See? I told you. I'd let him do it.

RDM: OK.

Terry: I have a gas mask on.

RDM: Yes.

OK. "Crossroads, II". As we talked about during [[Podcast:Crossroads, Part I|the podcast of "Crossroads, I"]], a great deal of material that used to be in the second hour was pushed up into the first hour for editing reasons, most having to do with time. [[Michael Rymer|Mike Rymer]], who directed both parts, his cut of the second hour was somewhere in the twenty minutes over range, which is pretty far over, when you think about it.

Terry: Just a tad.

RDM: Just a tad. So when the initial timings came in there was a great deal of panic around editorial and in the production offices about, "Oh my God. What are we going to do about this?" But when I sat down and watched the two parts together, first I was really amazed and just in love with it and thought we really- we had really managed to achieve something of this- with these- this two part finale. But also I realized that there was a way that we were going to get to time. I wasn't quite as worried as I was, say, when I asked for the [[Pegasus (Extended Version)|ninety-minute version of "Pegasus"]] and last sea- the [[Lay Down Your Burdens, Part II|ninety minute version of last season]] and the extended version of "Pegasus" and all that. I just had a an instinct that I was going to get these down to time.

This sequence. The [[William Adama|Adama]] shaving and [[Laura Roslin]] phone call was something that I added in my polish onto the script. I don't know why I love Adama shaving so much. There's something very mundane about it. Something very ordinary and every day that I think is-

Terry: Why is that whenever you watch any man shave, you're waiting for them to do exactly what he's going to do- ouch!

RDM: Yeah. I don't know. It was something that we established way back in "[[33]]" of him shaving, and it's a way in to scenes with him. And we've come back to it a couple of times ever since. And I just like it as a recurring motif in the show. And this phone call with Laura is actually one of my favorite things we did all season. It's just such a lovely little beat. This was originally a scene that was in part one. This scene was then going to lead to Laura going to the press conference that you saw in part one where she goes and she faces the press. And that's actually what she's referring to in the scene when she says, "I don't think I can face them." And him telling her to, "Don't let them see you sweat." And then she was gonna go and- oh and my-

Terry: What?

RDM: The tape froze up there for a second. I'm having trouble with the DVD for some reason. Uh...

Terry: Even more of a delay.

RDM: I've gotta pause here for a second.

OK. We'll try to keep going here, because the podcast has been delayed so long. My DVD copy from post is hiccuping, and stuttering, and giving me problems, so if the timings don't match out to the episode exactly, that's why.

Anyway, the Laura conversation was originally intended to essentially bridge scenes from her to c- saying that she had cancer to going to the press conference, and the reason why I liked it so much was in the nature of this conversation between Laura and Adama you really see that they're very intimate with- one one o- one another, in a platonic sense. There's a sense of these are friends. That she can call up Adama on the phone in the morning and say, "Yell at me to get out of bed." And he'll take the phone call while he's still in the bathroom and chat with her, and I think it's a lovely scene that says a lot about their relationship and how far they've come-

Terry: Yeah, I was gonna say how far they've grown.

RDM: How far they've grown since the [[miniseries]] and now that Laura's experiencing cancer again, it just- it seems like it speaks volumes about where he is and where she is in his life.

Then we have [[Galen Tyrol|Tyrol]] being awakened-

Terry: Speaking of cancer, since you're done with that cigarette, can we make that the last one?

RDM: Uh, yeah. Well, I'm not even- see I've still got more here to smoke?

Terry: OK. But that's the last part? OK? That's the last one.

RDM: [Exhales smoke]. Anyway. So Tyrol wakes up in the middle of the night. Tyrol's involvement as one of the final four [[Cylons (RDM)|Cylons]], of course, we'll talk about in depth later, but essentially he was- we were going to have Tyrol be one of the people that was hearing the music in part one, but at the script stage, I believe, we started switching those pieces around and it gave us one more thing to reveal in this episode, that there was somebody else who was hearing these same things.

And then we get here into this scene with [[Tory Foster|Tory]] and [[Samuel Anders|Anders]], the revelation that they're having an affair. Again, through the editorial process, this was originally in part one, and there was a reference to the fact that Laura was aware that Tory was having an affair with Anders in part one, after the press conference, which got cut, which I think I referred to by accident in last week's podcast, thereby giving away a spoiler, but-

Terry: Yeah. So bad...

RDM: These are the risks you take. The idea originally was going to be that Tyrol was walking his child down that corridor, and Tyrol kept walking the baby to try to get the baby to go to sleep.

Terry: Didn't I see that cut?

RDM: Yeah. You did see that cut. Terry saw that cut. And as Tyrol was trying to get [[Nicholas Tyrol|little Nicky]] to fall asleep he kept- he would take Nicky down this one particular corridor in [[Galactica (RDM)|''Galactica'']] where the ambient noise or the rhythm of the machinery actually lulled the child to sleep.

Terry: Like driving a baby in a car.

RDM: Like driving a baby in a car, which many of us have done in Southern California, to try to get our children to go to sleep. And in one version of the story he was gonna encounter [[Sharon Agathon|Sharon]] or [[Karl Agathon|Helo]]. I can't remember if it was Helo or Sharon was taking [[Hera Agathon|Hera]] down the same corridor too, and it was this thing about the two parents and raising a kid on ''Galactica'', and they were bonding, but yet, Tyrol was gonna start to hear this odd music and it was connected to Nicky, and it was connected to him, and he started hearing something at this one corridor of the ship and then he kept going back to it, and this sequence that we shot was the second one where he's going back again after he had done it with Nicky once on his own, he had actually gone back.

We're now in the "We need a mistrial" sequence. This scene was actually quite a bit longer. There's lots of little dropped lines and pieces of dialogue. It was a great scene, and I was here when they shot this particular scene up on the set. I went up for the last couple days of production on the episode. And it was really great to see these three, all three of them, really at the top of their game. This idea of going through the mistrial was something in the back of my head for quite a while. I wanted to play at early st- at the story stage I started talking about having [[Romo Lampkin|Lampkin]] manipulating [[Lee Adama|Lee]] to force a mistrial, and that Lee would be taking actions and introducing things into evidence that then would cause a mistrial, and that Lampkin was actually manipulating Lee all the way along, paying off the line from "[[The Son Also Rises|Son Also Rises]]" where you hear the voiceover Lampkin say about, "A son who's decided to-" I can't remember what the line is. "Go against his father." And I wanted this notion that Lampkin- that Lee was getting manipulated, and didn't realize it, and then realized at the last second, and then he had gone- he was in for penny and for pound at that point. What else could he do? But Lampkin was going to essentially force a mistrial on his own terms. Which is a version of what happens now, but we took out the naked manipulation of it and then forcing Lee into situations that he couldn't quite plausibly do. But this idea of the mistrial as tactic was something that actually I remember was played in a lawyer movie from a long time ago called [[imdb:tt0093051|''From the Hip'']] and there was a line in there someplace about- I remember the lawyers speculating among themselves about whether their client was, I believe [[imdb:nm0000457|John Hurt]], was trying to get a mistrial because the chances of an acquittal grows or something, and that notion of a tactic to force mistrial in order to help your client stuck with me, and it was one of the things I wanted to play in the episode.

This little bit here where we discover that Anders is a nugget, and in flight training, he had more on this story. There were- we never saw him begin the process, but we had a little bit more in the episode of Anders as nugget and taking [[Kara Thrace|Kara]]'s place. He literally moved into her quarters, where- her junior officer's quarters.

Terry: Is that what that is?

RDM: Yeah. She- he was in her bunk.

Terry: Wow.

RDM: And he had taken over her locker and had her things, and he was essentially trying to carve out another- a new niche for himself, but still following in Kara's footsteps in some odd way. That he couldn't quite divorce himself from the past, even as he tried to move forward.

It's in here that we hear the first line of "[[w:All Along the Watchtower|All Along the Watchtower]]." I think it's- I'm trying to remember the sequence these things go. I think Anders walks away and says, "There must be some kind of a way out of here." Or Tyrol says, "There must be some kinda a way outta here." I wanted to sprinkle in the lyrics from the song throughout this particular episode, and there internal debate about- [[David Eick|David]] and I debated a lot about when would you recognize the song. And I maintain that if you didn't know the gag, if you didn't know that- where we were going, that if you put in the line, "There must be some kind of a way outta here," that that-

Terry: I didn't catch it.

RDM: -you wouldn't catch it. But funny enough, when we watched this episode at the frak party in Berkley, you- if you were listening to that tape, I don't know if you can pick it up, 'cause I haven't listened to the podcast, as usual, but s- when-

Terry: Somebody finished the line.

RDM: Somebody finished the line, "There must be some kinda a way outta here." And then, "Said the joker to the thief," said somebody in the audience, and we were sitting there, and I went, "Oh my God, they're picking up on this shit."

Terry: I wonder if that's 'cause they heard. I saw [[w:Jimi Hendrix|Jimi Hendrix]] live and I didn't pick it up.

RDM: I think if you know- if I tell you "All Along the Watchtower" and then you watch the episode, you'll pick out every single line.

Terry: That's what I think.

RDM: OK. That's the end of my teaser.

== Act 1 ==

RDM: Act one.

Terry: (Yawns.)

RDM: (Lights another cigarette.) OK. Couldn't quite resist. One last one. This thing with [[Laura Roslin|Laura]] and the [[diloxin]] treatments-

Terry: (Coughs.)

RDM: Oh... don't ham it up for them.

Terry: (Coughs.)

RDM: Talked with [[Mary McDonnell|Mary]] extensively about the fact that her cancer was coming back and how she was gonna deal with it this time, and we decided that one of the things sh- that was gonna differentiate it from the first time that she had cancer was that she was going deal with- she was gonna take the conventional therapy, she was gonna take their version of chemotherapy, and deal with the consequences. In addition to doing [[chamalla]] and whatever else she was gonna do to fight it. But she was gonna essentially fight it on every front. She wasn't going to hide in any way from what she going for-

Terry: And you're not trying to make Laura look younger there, are you?

RDM: No. That's (unintelligible)- you asked me that before.

Terry: I know I did.

RDM: If we're trying to look Laura look younger in the visions. I guess it was on [http://forums.scifi.com/index.php?showforum=24 the boards]. No. It's not. She's- it's just lighting and she's just a lovely woman and-

Terry: She's all made up.

RDM: Yes- yeah. It's just different.

There was more to this sequence. They did actually talk to one another. [[Sharon Agathon|Sharon]] and Laura, in [[sickbay]]-

Terry: -I liked that.-

RDM: -and we cut that- scene out, strictly for time. They just- recapped a little bit about what they had gone through, and Sharon talked about [[projection]] and told Laura about projection for the first time, which is [[Cylons (RDM)|Cylon]] way of creating environments around themselves and saying how impossible it should be for Laura and [[Hera Agathon|Hera]] to share such a thing and that as they talked they said, "Maybe there's someone else who was there with us." And then that took them down to see [[Caprica Six]].

This little trio, Laura, Caprica Six, and Shar- Athena, is definitely something we're gonna be following up in- up on in [[season 4 (2008)|season four]]. Actually, as I speak to you now, I'm doing this on [[w:Easter|Easter Sunday]], I can tell you that the writing staff is well into the fourth season. At this point we have broken the first, I think, nine episodes of season four. I know what all the opening storylines are and it's pretty cool. We're pretty excited about where we're going. In any case, this notion of Shar- we went through a lot of discussion about what the visions were gonna be. I think in my polish on the draft I put in the visions, and the visions were going to be- had more- that door opened in the [[Opera House]] and there was intense light and wind came out, and it was like Laura and Sharon trying to fight through the wind to get to Hera, and then Caprica Six appearing out of the wind, and all this stuff. It just got shut down for production reasons, mostly, because the location that that building, we couldn't bring in giant ritters and do wind and they were afraid of damage, and light source, and even light was tricky. Sometimes you go to locations and the building or the property owners will have all kinds of restrictions on exactly what you can and cannot do on these- in these places.

Terry: And that's a really old building.

RDM: And that's a pretty old building. So, understandably enough, they were very concerned about what crazy ass thing the people from [[Battlestar Galactica (RDM)|''Galactica'']] were gonna be doing in their- location.

Terry: I'm sorry for the sound of scissors. I'm making birthday invitations.

RDM: Yes she is.

Terry: Sorry. I'll try and be quiet.

RDM: Yeah. "There must be some kinda way outta here," says [[Saul Tigh|Tigh]].

Terry: See, I-

RDM: Which I think is great.

Terry: -didn't catch that.

RDM: This little bit with [[Felix Gaeta|Gaeta]] was always in all the story versions, was that Gaeta was gonna get on the stand and perjure himself. And was gonna do it deliberately, 'cause he hated [[Gaius Baltar|Baltar]] so much and was gonna sink him. In the original version of the draft this was the th- they- I'm tryin' remember. They did discredit him. They found a way to, the defense team, that is, they found a way to trap him in a lie. He actually was proven to be a perjurer, in the initial drafts. He had gotten up and they had found a way to-

Terry: Did you film that?

RDM: No. It never got filmed. We proved- I'm struggling just to remember what it was, but there was a way that they had of trapping him and pr- oh. That- I remember what it was. They had proof that he- at the time he said he was watching Baltar sign the document-

Terry: -That he was somewhere else.

RDM: He was somewhere else. 'Cause they- he had made a [[w:dead drop|dead drop]] of information to [[Galen Tyrol|Tyrol]] that they could track back and had the timeline to prove it, and that the document that Baltar had signed, the death warrant, had a dates- had a timestamp on it, or was timestamped or something.

Terry: You know, and the interesting thing about this whole thing is that- I don't know. Do you really blame him? I mean... you go to the [[w:O. J. Simpson murder case|O. J. Simpson trial]], everybody's favorite trial to reference, but, how many people would perjure themselves because they're s- absolutely sure that a murderer is guilty.

RDM: Oh, and if you-

Terry: But they think he's gonna get off on a technicality.

RDM: Well that's the thing, is- at this point in the trial it looks like he's winning.

Terry: Yeah.

RDM: And he looks like he's gonna get off. And Gaeta is just not gonna let this guy go. He's gonna burn him.

Terry: And the beauty is that the law is the law. Even if somebody goes free and he's guilty.

RDM: That's right. That's the way it works. And I think- in the first draft, they did bust him. They busted him for perjury, and so essentially most of the prosecution's case was destroyed, and that was when the [[Sagittaron|Sagittarion]] storyline that we had developed was gonna come to the fore. Somebody came to [[Lee Adama|Lee]] at the end of [[Crossroads, Part I|part one]] and gave Lee a videotape of an incident on [[New Caprica]], and the videotape seemed to show Gaius Baltar ordering [[Cylon Centurion]]s to fire on a civilian population in a massacre. And it was a damning bit of evidence, and Lee had it, and Lee- the struggle for Lee was, "Does he turn it over to the prosecution, or not?" And ultimately he did turn it over to the prosecution, and then they used it in court, and it looked like all was lost, and then it turned out, through digging and plot, [[Tom Zarek]] was very involved in the show at that point, and it turned out that Zarek had actually manipulated the event, and it was Zarek who had given the order, and Zarek was- it was in some kind of power play, and in some fashion that prompted a backlash from Baltar, and that's why Zarek was in jail at the end of the New Caprica story.

End of act one.


== Act 2 ==



RDM: Act 2. And then essentially when they had convicted [[Tom Zarek|Zarek]] in the court of public opinion what happened was there was a move for a mistrial, [[Gaius Baltar|Baltar]] got on the stand, Baltar got off on this rant, and various versions there were places where Baltar withdrew his plea. Said, "I won't be judged by any of you. I reject the court, I reject everything about the court." And as soon as he withdrew his plea then they were going to judge him guilty because that was the way the law worked or something. Ther were other versions where Baltar was on the stand and he said, "I am the son of [[Cylon Religion|God]], you are all sacrificing me in His name." And was doing this other whole religious bit and we decided not to go there. It was essentially when I was doing my pass at the script that I said, "I want to go back to this idea of the mistrial." I wanted to use the mistrial idea as a way of one thing after another happening in the court room where it starts with [[Romo Lampkin|Lampkin]] seizing on the idea of a mistrial and trying to put [[Lee Adama|Lee]] on the stand, which we all knew that was something that you couldn't, that would be thrown out in any U.S. court. But given the exogent circumstances that were happening here we decided to push through it and we do have the [[Cassidy|prosecuting....prosecutor]] objecting vociferously to this notion and trying to stop the proceedings, but the fact that you have [[William Adama|Adama]] on the panel and it's his son and the curiosity factor sort of jury rig.....sort of ad hoc judicial system that they've got here. I felt that we could push through it dramatically and get ot the place where we get Lee up there on the stand ostensibly to crush his father. Instead of crushing his father, he gives this eloquent speech that turned the tide of the court case and i thought that was an interesting place to go because you wouldn't see it coming. This sscene when Lee, when [[Jamie Bamber|Jamie Bamber]] get on the stand and did this scene did the monologue, the moment that's coming up here, all the cast was there and I wasn't on set that day but I came the day the day after they had shot this scene and [[Mary McDonnell|Mary McDonnell]] said, "You should have been here yesterday. Jamie did the speech." And I said, "Oh did it go well?" She said, "Oh my God, when he finished doing his first take of that speech the entire cast and crew stood up and gave him a standing ovation."

Terry: Aaaahhhhh, did they?

RDM: They did. They were blown away, it was really....

Terry: They did an amazing job.


RDM: Everybody I think went really, Oh my God, look at him go. I think the character made a giant leap here to because I think the character....taking him out of the uniform and putting him into a suit changes the character in an interesting way.

Terry: Well, you've always discussed the problem of Apollo that he's sort of the hero, but....

RDM: Yah.

Terry: how does he define himself outside of always being the stand up guy; especially, placed under these circumstances. Now you get to see him..

RDM: When you take him out of the uniform

Terry: Really, Yah!

RDM: he's no longer so connected so intimately to his father. So he..it's not a quite as competitive as it was.

Terry: He gets to be himself more.

RDM: And then I really wanted-this was the-we played around with this speech in earlier drafts but I really wanted this speech to really be about collective guilt, collective shame, and really shine a light on some of the practicalities of what they were dealing with. They kind of threw together this judicial system and they threw it together to try this one man.

Terry: And one of the things that I like about is that is that point that you always have, "Well, you guys elected him." You all wanted to go down to that planet. Where's your, talk about personal responsibility, where is it?

RDM:Yah.

Terry: It's really easy to put it all on one person, I'm not saying that he's not guilty but we're all guilty.

RDM: Yah, I mean, exacatly. he was elected, he was democratically elected. [[Laura Roslin|Laura]] and [[William Adama|Adama]] stood back and let it happen because that's the way the democratic process is supposed to work.

Terry: But they also pointed out what teh problems were going to be and people made the free choice to go in this direction.

RDM: Yep.

Terry: and people made the free choice to go in this direction.

RDM: I mean it's....They talk about parallels to reality in the show and I'm always asked about the allegorical elements of the show and what's relevant to contemporary society and certainly, as I was writing this stuff about Baltar being elected president and the rest of them now hating his guts and wanting to throw him out the airlock was the notion that the country did elect [[w:George W. Bush|George Bush]].

== Act 3 ==

RDM: Top of the next act.

We'd had versions of the story- I don't think versions of the script- no. There were. I take that back. There were versions of the script, as well, where we followed the judges back into chambers and played some of the deliberations and some of the- interpersonal stories of [[William Adama|Adama]] dealing with the other four judges, and eventually dropped it. It just- it was one element too many, and too many people to track, and more speaking roles, and it was just "too much of a muchness," as [[w:Ira Steven Behr|Ira Behr]] used to say.

Terry: A much of muchness?

RDM: "Too much of a muchness." And- so we dropped it. It's more effective this way. There's something nice about when the jury, or in this case the tribunal, just leaves the courtroom and then just comes back with the verdict, and it's a little cleaner, a little bit more simple. But there was some- I did like the idea of getting to see the captains discussing the case and how they would arrive at a verdict. I just thought- I thought it was an interesting idea, in theory.

This bit of business with [[Gaius Baltar|Baltar]] getting the acquittal and then the courtroom erupting into chaos went on quite a bit more, actually. [[Michael Rymer|Rymer]] shot quite a bit of more material here that we had to just get out of, but there was- they rush him. Baltar is yelling. People are screaming. Baltar jumps up on the table at some point and is like yelling his innocence to the crowd.

Terry: They're just great.

RDM: And-

Terry: Can you- can there be like a- those things added into a DVD at some point?

RDM: Yeah, well, the d- we always put deleted scenes in.

Terry: All of them?

RDM: Yeah, quite a few.

Terry: So you would put like this in?

RDM: Uh, probably.

Terry: But it's not edited together. I mean- extras.

RDM: Some of it is. Yeah, it's usually edited together.

Terry: 'Cause that would be ama- this was amazing. This whole thing.

RDM: We might be able to- I'll see if they can add that into the DVD.

Terry: It was great when the whole- that whole twenty-minute overage was...

RDM: That guy, the bald guy, actually had more.

Terry: Yeah.

RDM: He was gonna specifically be following Baltar later on, after the lights go off, and you see Baltar wandering through the ship. That guy, and another guy, were actually pulling knives and they were chasing Baltar through the corridor. At- just- him. This guy with the bald head. Just before Baltar runs into the [[young woman|women]] that save him, he was literally on the run for his life. There were people trying- to knife him in [[Galactica (RDM)|''Galactica'']]'s corridors.

Terry: This is such a great scene.

RDM: Yeah, I love this notion.

Terry: This is so Baltar.

RDM: I think the writers came up with this.

Terry: This is great.

RDM: That after he's acquitted it's the- "what happe- now what?" scene where- it's- I think [[David Weddle]] brought it up and said it's like the end of [[w:The Candidate (1972 film)|''The Candidate'']] with-

Terry: Yeah.

RDM: -with [[w:Robert Redford|Robert Redford]], after he wins, he just turns to his campaign advisor and says, "What now?" or "Now what?" And that was what we wanted to go here. OK, now he's free, he's been acquitted, and now what?

Terry: But for Baltar, of course, he's got an idea.

RDM: I actually cut a whole chunk of dialogue here where [[Lee Adama|Lee]] comes across the room. He was gonna really put it to Baltar in starker terms about how he knew what a slimeball he was, etc., etc. And I thought, when I saw it, that it just- it was contradictoring- it was contradicting all the stuff that we had said- that Lee had said up on the stand, so I opted just to make it a quicker, more little bit of a flashpoint once his dad's name is brought up. I also really like the fact that [[Romo Lampkin|Lampkin]] is not going to continue being Baltar's mouthpiece. That he really- he came in, he did his job, and he's moving on. But he has no illusions about his client either. He's not gonna be out there flakking for Gaius Baltar in the near future.

Terry: (Chuckles.)

RDM: Yeah, "What about me?" (Chuckles.)

Terry: He's such a narcissist.

Great look on both their faces.

RDM: This is like the only cat reference in the show, is him saying, "Hate using a cat metaphor, you'll land on your feet." We had just dropped the ball in terms of working the [[Lampkin's cat|cat]] back into the episode and having something, other bit of business, with Lampkin and the cat, mostly for time. Again, we were just fighting time and I don't think it was even in the script drafts to find something else with the cat. Also that just everybody was bitching about the cat on the set and they had to deal with the cat. The cat takes up time.

Terry: Shoulda used a dog. A dog named [[Jake (New Caprica)|Jake]].

RDM: If I had known, we would've used the dog.

I love this little beat where he- puts aside the cane. He sets the cane aside and puts on the s- puts his sunglasses back on. There was another piece here that was cut, actually, where Lampkin gave Lee the pen, gave Lee the pen that we had seen Baltar use. 'Cause I think he had stolen it from Baltar once again and he handed to him, and that also got lost in the edit. Just the fact that he walks out of there without a- without the cane is just a great little beat. How much of everything he did was a put on? And how much of it was all for effect? And what did he (unintelligble)-

Terry: -It's all theater.-

RDM: -It's all theater. And he plays the game very well.

Adama cast the deciding vote in favor of acquittal was a late-breaking idea, too, that we wanted to get an idea what happened behind their- behind closed doors. And I though there was some- it validated, really, what Lee had done, if he had turned his father. And it just seemed like if the- argument that we presented in court had weight and had validity and was really the argument that carried the day, it seemed like Adama should be the one to recognize that, and that Adama should be the guy to cast the vote in favor of acquittal, because he would swayed and realize that they really didn't have anything on Baltar, despite all their anger and hatred and genuine feelings of vengeance, that they couldn't actually convict him for that.

Now we move into- now we're getting back to the [[Ionian nebula]], and we're getting ready to get to- the next section of the show. Let's see. This came about- the revelation of the final four, came about as we were working on these storylines. We w- the writers had been breaking the season finale, the courtroom drama, and they were pitching it back to me and I was sitting there and I was- I liked it, and yet I had this nagging sense that we hadn't really transcended the courtroom drama. We hadn't really pushed it to the next level.

Here's Baltar wandering the corridors with his little box.

Terry: This is when everybody was chasing.

RDM: Yeah. Yeah this- well, after the lights go out was when-

Terry: -Yeah.-

RDM: -everybody started chasing him.

[Dialogue can be heard] 3...2...1... so they jump. We get to the nebula, and then just all hell breaks loose.

And then we get to [[Laura Roslin|Laura]]. Now, there was a beat here when Laura ha- reacts. I think we had actually put in more vision. Laura had more vision here of the [[Opera House]] in pieces, but it felt like we didn't need it any more. We had done enough with the visions and it was enough that she just reacts a split second before all the ships in [[The Fleet (RDM)|the Fleet]] lose power.

And then [[Saul Tigh|Tigh]] in the corridors. Now, the notion was that- the guys had broken it as a courtroom drama, and I was getting dis- I wasn't quite satisfied with that, and I remember sitting in the writers' room saying, "You know, I've- I just feel like we need to do something bigger, and I've had this recurrent idea-"

Oh. That was the end of the act. I'll come back.


== Act 4 ==

RDM: Top of the act. I had this recurrent thought about people walking towards one room on [[Galactica (RDM)|''Galactica'']]. Now the truth is, in the writers' room, some- I didn't. I had the recurrent thought for maybe three minutes in the writers' room at that point, and sitting there mulling it over, and said, "I've got this idea." And it was to- you'd have all four- four people walking from different points in the ship towards a room, and then they would just walk in the room, close the door, look at each other, and say, "Oh, my God. We're [[Cylons (RDM)|Cylons]]." And that that would be part of the revelation at the- that would be the finale. And everybody in the room went, "Wow." And they all said, "OK. Can we do this? Is it crazy?" And I thought, "Well, I don't know. Tell me I'm wrong here." And it was a lot of, "OK, let's make sure we're not losing our minds here. Is this a good way to go?" And the more we talked about, the more excited that we got. And then it was, "OK. Who are the final f- Who are four of the [[final five]] Cylons?" and would would they be? And it's- fell into place rather quickly, actually. Who they were seemed rather obvious to all of us, in a bizarre sense. [[Saul Tigh|Tigh]] was one of the first names tossed out. [[Galen Tyrol|Tyrol]], [[Samuel Anders|Anders]], and [[Tory Foster|Tory]]. And they all had reasons why their backstories worked for the Cylons and for what the final four Cylons would be in particular. Tyrol had a connection to [[Sharon Valerii|Sharon]], obviously, had fallen in love with a Cylon. He was drawn towards [[The Temple of Five|the Temple on the algae planet]]. Anders had survived two resistance ro- movements, very mysteriously. He had also fallen for [[Kara Thrace|Starbuck]] who has a specific destiny, the Cylons keep saying. Tory we knew the least about, so she was a bit of a wildcard. Tigh was the most problematic, and Tigh I went back and forth on all the way up to the point where we were shooting the episode and h- wanted to make sure that we knew what we were doing, and we weren't blowing something. Because Tigh- was the most human of that group in many ways. Had such a human story full of pathos and-

Terry: [[Caprica Six]]-

RDM: -angst, that I won- I was worried that we were gonna lose something if you deci- discover that he was a Cylon, he wasn't human after all. And then I realized and we all tal- the more we talked about it, the consensus was actually, "Yeah, you lose something, but you gain something, too." Because Tigh- because of all those things, because he had killed [[Ellen Tigh|his wife]], because he was a drunk, because he was [[William Adama|Adama]]'s best friend, because he hated the Cylons more than anybody else. When that character discovers he's a Cylon, that's an interesting story.

Terry: Well, and the difference between him and Sharon, is that we didn't know Sharon for very long before she w- before we discover she was a Cylon.

RDM: Right.

Terry: So we've had all this time to develop all this knowledge and backstory with Tigh.

RDM: Yeah.

Terry: As to why- and to then, because we know him, he can't possibly be a Cylon.

RDM: Yeah.

Terry: But we don't enough about Sharon's history to know- all the things that might have been taken place for her, or for any of these guys for that matter.

RDM: Sure. And we have the backstories worked out. We know why it's these four. And we know how there backstories actually do work very well with what we've laid out in the show. Which we made sure before we committed to going in this direction.

"[[w:All Along the Watchtower|All Along the Watchtower]]"-

Terry: [[w:Sleeper agent|Sleeper]] Cylons.

RDM: I was essentially looking for an excuse to put "All Along the Watchtower" on the show for a long time. I ha- When I was working at [[w:Roswell (TV series)|''Roswell'']], I had an entire episode I was gonna do around "All Along the Watchtower."

Terry: You're getting a lot of flak for that.

RDM: Eh. That's OK. Whatever. This how the process works.

Terry: Mhmm.

RDM: You're always- you have ideas that you think about and mull over a different context over course of time until you find the right time to do it and the right way to apply it.

Terry: Yeah.

RDM: And this is one of those cases. I was gonna put the song in the show, like, way back in [[season 1 (2004-05)|the first season]]. There was an idea that [[Karl Agathon|Helo]] and [[Sharon Agathon|Sharon]] back on Cylon-occupied [[Caprica (RDM)|Caprica]] were gonna come into like a bar or a cafe or something and the jukeb- they'd get the jukebox working one night and they were in some romantic setting and they would turn the jukebox on and "All Along the Watchtower" would start playing, and the idea is they would both- they both would recognize the song, casually. And that the audience would go, "Wait a minute. Wait a minute. Wait a minute. How can they recognize that song? It's not the [[w:Jimi Hendrix|Jimi Hendrix]] version. It would still be a cover of it, but how could that be?" And the idea was, and it still is, that there are connections between their world and our world. Between the story of people on [[Battlestar Galactica (RDM)|''Galactica'']] and our contemporary reality.

Terry: Don't go too far.

RDM: And there are connections that transcend all these things. And so that the idea that there is a song that is recognized in the ''Galactica'' universe that we recognize as well, is not an accident. And that there is an explanation for all of that.

I love that when Tigh comes into the room. That's my favorite.

Terry: It's so Tigh.

RDM: He walks in. "Woooooah." The writers' have now taken that up in the room. They just sometimes write up on the board, "Tigh enters. Wooooah."

Terry: (Chuckles.)

RDM: (Chuckles.)

Terry: He's so fabulous.

RDM: The- we actually- to preserve this secret we actually published fake pages for the first time in the history of the show, that had an alternate ending to the series- to the season.

Terry: Well you guys talked about doing that now from here on out.

RDM: We've talked about that forever.

Terry: Because, you know what? When you guys start reading spoilers-

RDM: Oh yeah.

Terry: -you don't really know what it is you're gonna be getting.

RDM: Yeah. We put out fake pages. We'll prolly continue to do that in the future as we get deeper and closer to the end of the season.

Terry: You're gonna have to.

RDM: All this was- but a lot of the secret got out to the crew and to the cast anyway, which was fine, it just emphasized the point that these were secrets that we wanted to maintain.

I really like the way the foursome reacts here.

Terry: Yeah..

RDM: They all just distinct- reactions from one another. I love the way Anders looks at Tory and says, "You get aw- you stay away from me."

Terry: And he immediately just assumes command.

RDM: And Tigh-

Terry: "Close that door."

RDM: Yeah. And I think this tells us a lot about these characters going into the [[season 4 (2008)|fourth season]].

Terry: Yeah.

RDM: Tigh's reaction is, "I'm a man. And I'm Saul Tigh. And I'm gonna die that man." And he's just not gonna deal with it. He's gonna deny it. Even knowing- that they know on some basic-

Terry: That it's true.

RDM: -level that it is true. And it is true. That this is what they are. That they don't wanna deal with it. And they don't really know what their agenda is. They don't know what they're supposed to do. They don't know how they got here.

Terry: But also by this point we- we've seen Sharon. We've seen Caprica Six. We've seen [[Number Six|Six]]. We've seen the- we've seen, what's her face, [[Number Three|D'anna]]-

RDM: Mhmm.

Terry: -go through these various inner workings and meltdowns and trying to define themselves and I don't think it's just so, "I am a machine."

RDM: No. It's never been that.

Terry: -Never been that.

RDM: It's always been more complicated.

Terry: It's always been exploration of who they are and what it means to be human or what it means to be alive. I mean from Six's first thing. "Are you alive?"

RDM: And the final four, and there's really five, of course, but the final four here are different Cylons than the other Cylons, and we've pretty much set that up initially, once we decided that- once we said, "OK. There's a reason that you've only seen seven, and that the final five are different, and that the rest of the Cylons can't think about 'em, can't talk about 'em, and that there's a whole mythos on their side about the final five Cylons." You're already saying that they're different than the others. That they're a different kind of Cylon and that the rules that we've est- painstakingly established for the other Cylons need not necessarily apply to these.

Now this section here, as we get into the attack, and then the eventual revelation of Kara at the end, was also a closely guarded secret. They were separate pages that were not put out initially. If you think back to the [[Podcast:Maelstrom|"Maelstrom" podcast]], I think you'll find that I walked the line very carefully in that podcast. I don't think I ever lied about the fact that she was never coming back to the show. I think I talked pretty much about the fact- the reaction of people, and that we mean- that she was gonna be killed, and what a devastating thing it was to the cast and the crew. And how it really affected everyone. And all that is absolutely true. Now what I didn't get into was the rest of that story, which was that when the news went out that we were killing Kara in "[[Maelstrom]]", all hell broke loose up on the set in Vancouver, and I got a call from the studio one morning saying, "OK. I think you better do something. The cast and the crew are almost in a state of mutiny up there." And we went, "Huh? Oh my God." And so [[David Eick|David]] and I called up [[Edward James Olmos|Eddie]] and [[Mary McDonnell|Mary]] first and said, "OK. Look. Here's the lowdown. Kara's coming back in the last episode. We told them how she was coming back and all that." And we didn't- we had not wanted to put them all in the position of having to lie to everybody, of having to lie to publicists and press, and lying to cast, other mem- lying to the crew, etc. But it had gotten to such a point that we had now had to share the information, and then Eddie and Mary shared it with the rest of the cast, and eventually key crew members were brought in. We had to break the secret just to maintain cohesion up there. But there were certainly people that were ready to like hang David and I in effigy.

This ending here with [[Lee Adama|Lee]]. We shot two versions of all this. Actually a couple of different versions. When I was up on the set- the original scripted ending was that Kara was going to be in Lee's quarters. He was gonna be rushing into his quarters. He was gonna get his helmet and his [[flight suit|flight uniform]] and then he was gonna turn to go, and then he looks up, and then Kara's standing in his quarters, and says, "Hi Lee." Yeah. Right here. Where he comes in, he grabs his flight helmet and stuff, and he turns, and then boom. Kara was gonna be there. We were gonna play the last scene with Kara in the room. And then when I was up in Vancouver I started having second thoughts and wondering if that made it too supernatural into the next season. How would she get in there? Too many questions and did I really wanna go down that route? And decided, to protect ourselves, let's do- shoot a version where he encounters her in the [[Viper (RDM)|Viper]]. He gets in the Vi- in a Viper. He goes out, and Kara comes up next to him in a Viper. And ultimately in the cut that was the cut that- that was the way [[Michael Rymer|Rymer]] cut it, and I decided to go with that too. It was a stronger ending, and it was- it got us outside ''Galactica'', you got action going and fighters, and you're- at this point you're unhinged in terms of where the hell it's all going, I think, and her reappearance- sure there were true- the true hard-core fans could probably sniff it out, but I think a lot of the audience was shocked when she came up and certainly that was the reaction at the frak party that we were at. There were a couple people here and there who were winking and somebody was saying, "I hope it's Kara," but I think the reaction generally was surprise. This is [[Bear McCreary]], our composer, who's doing the cover of "All Along the Watchtower". He composed it and he covered it, and I think it's a great version.

Terry: And you wanted it to be a cover.

RDM: Oh I wan- it ha- I knew it was-

Terry: Didn't want it to be-

RDM: There was a point where the network wanted it to- they said, "Why don't we just use the Jimi Hendrix version? And let's pay- we'll pay for it and do it." And I said, "No, no, no, no. That's not the idea. The idea is not that the literal song can be used." I didn't u- there was no real connectio- there's no real logic to how you could actually hear the Jimi Hendrix version, which is the most famous version event though it's a [[w:Bob Dylan|Bob Dylan]] song, how that you could actually hear that version in the ''Galactica'' universe. But the idea was that the lyrics of a song, and the song itself, could tran- could be passed from culture to culture, or have found its way through the mists of time from one place to another, I could buy that.

Terry: There it is.

RDM: And there's Kara. And this- idea- When we talked about "Maelstrom", this was part in parcel what "Maelstrom" was gonna be. We said- we'll kill he here, we'll take her out of the main title credits for the next few episodes, but then she's gonna come back at the end, and say, "I found the way to [[Earth]]." And that fulfilled her destiny, because I think there was also questions after "Maelstrom" aired about whether that actually-

Terry: I love this.

RDM: -paid off everything. Did her death have any meaning? Her death didn't have meaning, but the resurrection of Kara does.

This was- this grand pullback through the cosmos was also in Rymer's cut, and I really fought for it. The people- at work wanted to drop it at one point. I think David wanted to drop it at one point. ANd I loved it because it held out a promise that I think was important to say to the audience, namely that we're really going to Earth and there it is. And it really moves the show strongly into the third act of what the series is. That was important to me. It was important to me to move the show into the third act.

So that is "[[Crossroads, Part II]]".

Terry: You are now free to fight among yourselves.

RDM: You are now free to fight among yourselves.

Terry: (Chuckles.)

RDM: I don't know when the next podcast will be. I always think I'm gonna do more before the next season.

Terry: You know, we should. We really should.

RDM: I would really- I will really make an effort to. There's still some episodes of the first season I've never done podcasts for-

Terry: Yeah.

RDM: -I could get back and do. And, who knows? Maybe we'll try other formats and this and that.

Terry: Yeah. We'll think of some stuff.

RDM: But that's [[season 3 (2006-07)|season three]], ladies and gentleman. Thank you all for listening. It's been a great season for me. I hope it's been a great season for you. And that's it. So good night, to one and all, and good luck.

Terry: Take care, everybody. Be good to each other.

RDM: Be good. Good night.

Podcast:Crossroads, Part II

2007-04-12T04:17:43Z

Zarek Rocks: Act 2 of podcast transcription up to 19:32 for Crossroads, Part II

Podcast:Crossroads, Part II

2007-04-12T03:45:49Z

Zarek Rocks: Getting started on Act 2 transcription of Podcast for Crossroads II

Battlestar Wiki:Podcast Transcripts

2007-04-12T03:30:28Z

Zarek Rocks: Claiming act II of Podcast Transcription

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/320/bsg_ep320_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 10 April 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:07, 11 April 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: —. Verified: —.) --[[User:Zarek Rocks|Zarek Rocks]] 22:30, 11 April 2007 (CDT)
*Act 3 (Transcribed: —. Verified: —.)
*Act 4 (Transcribed: —. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Podcast:Crossroads, Part II

2007-04-11T04:40:52Z

Zarek Rocks: Categorizing Transcription of Crossroads Part II

Battlestar Wiki:Podcast Transcripts

2007-04-11T04:38:41Z

Zarek Rocks: Creating Link to POdcast Transcription for Crossroads Part II

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/320/bsg_ep320_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 10 April 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: —. Verified: —.)
*Act 2 (Transcribed: —. Verified: —.)
*Act 3 (Transcribed: —. Verified: —.)
*Act 4 (Transcribed: —. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=====[[Podcast:Crossroads, Part II|Crossroads, Part II]]=====

*Teaser (Transcribed:-- Verified: -.)
*Act 1 (Transcribed: -- Verified: -.)
*Act 2 (Transcribed: -- Verified: —.)
*Act 3 (Transcribed: -- Verified: —.)
*Act 4 (Transcribed: -- Verified: —.)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Battlestar Wiki:Podcast Transcripts

2007-03-25T20:51:38Z

Zarek Rocks: fixing signature

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --[[User:Zarek Rocks| Zarek Rocks]] 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks| Zarek Rocks]] 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:07, 22 March 2007 (CDT).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 12:45, 22 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT). Verified: —.)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Battlestar Wiki:Podcast Transcripts

2007-03-22T04:06:52Z

Zarek Rocks: Sig for finishing Podcast Act 4 transcription

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: —. Verified: —.)
*Act 4 (Transcribed: --[[User:Zarek Rocks|Zarek Rocks]] 17:54, 21 March 2007 (CDT)
. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --Zarek Rocks 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --Zarek Rocks 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --Zarek Rocks 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Podcast:Crossroads, Part I

2007-03-22T04:03:20Z

Zarek Rocks: adding one link

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast. I'm Ronald D. Moore, developer and executive producer of [[Battlestar Galactica (RDM)|the new "Battlestar Galactica"]], and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello, Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night—

RDM: Yes, and uh—

Terry: In a state of exhaustion. So—

RDM: I hope. So—

Terry: I'm— I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scotch is Urgegragor 10 from— single malt from the [[w:Scottish Highlands|Highlands]].

Terry: There has been a question as to what is your favorite scotch.

RDM: Ah, that's a hard question to answer. [[w:Talisker|Talisker]] is one of my favorites. And err, [[w:Isle of Jura Single Malt|Jura]], that new one that I got from the professor at [[w:University of Southern California|USC]] is a new favorite. This one came from our friend [[w:John Hodgman|John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the [[w:Apple Inc.|Apple]] commercials.

Terry: Ok, let's get into it. This is "Crossroads, Part I". In case you're wondering: no, we did not forget to put what we call the pre-cap on this week's episode, which is the section that says, "The [[Cylons (RDM)|Cylons]] were created by Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So— to give us— in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the [[Opera House]], which we've seen before, the [[Kobol]] Opera House, was a very late addition to the script. I took a pass at the finale fairly late in the process, while we were in prep. And I added this section and some other pieces that we'll talk about as we come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very [[w:Don't Look Now|"Don't Look Now,"]] the [[w:Nicolas Roeg|Nicolas Roeg]] picture in a lot of these shots and very very creepy and very effective. I like a lot of this a lot. Originally— we had always known that we wanted to do the trial of [[Gaius Baltar]] [[Season 3 (2006-07)|this season]]. And originally it was going to take place, I believe, around episode 12 or 13, after the [[Rapture|escape]] from the [[algae planet]]. And then as time went on we started talking about what the season finale was going to be, and I started getting more and more in love with the idea that the season finale was actually going to be the trial of Gaius Baltar. And that took a little bit of salesmanship, actually, with [[Sci Fi|the network]]. The network was not entirely convinced that we would— that a trial episode was really the best way to end the season. But I was really sold on it, and then went back to the writers' room and then said "OK, we have to really deliver, 'cause they're definitely skeptical this time about what— y'know, about our ability to pull this off."

So as— so we developed this long arc that was going to culminate in the trial, which I've talked about before, with the [[Sagittaron]]s becoming a problem within the [[The Fleet (RDM)|Fleet]], and that's where the [[Helo]], "[[The Woman King]]" episode originated, to introduce the (unintelligible) Sagittarons. Then we had more storylines with them, as sort of a sub-group within [[The Twelve Colonies (RDM)|the Twelve Colonies]], and how they were the outcasts of the bunch that— y'know, the other colo— tribes tended to take advantage of them. And it was included in this— in the initial drafts of these two episodes and it was going to form a key part of the trial. And it wa— the plot was essentially that as bit by bit the defense team, Baltar's defense team, kicked the legs out from under the prosecution case as it was presented, there came a point where [[Lee Adama|Lee]], who at that point in our story was actually going to be the sole attorney for Gaius Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody from the [[black market]], and the video tape was going to have on it actual footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar, and he's pulling the trigger and he's killing people. And it was— it just had him dead to rights, and that's where this episode was going to end: with Lee coming into possession of that video tape and what was he going to do?

And then the [[Crossroads, Part II|second part of the episode]]— the second part of "Crossroads" was going to deal with what does he do with the video tape, how does— y'know, getting into the backstory of what happened on New Caprica, the idea was that the Sagittarons had sort of isolated themselves from the rest of the population, and there was a famine that had struck the food supplies, and people were in desperate straits, and the Sagittarons were refusing to share the food that they had carefully cultivated to themselves. And at some point Baltar— and the government sent in the troops and Baltar got involved in the situation, which at first looked on the video tape like he was a cold-blooded murderer, but as the case went on you discovered that actually— that he was more— it was more along the lines of the moment in [[w:Lawrence of Arabia (film)|"Lawrence of Arabia"]] where Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes as we went to prep, but the problem was they were just— it just wasn't working, because I think when we read it, [[Michael Rymer]] was probably the first one to put his finger to it, that— y'know, it was making up this other storyline about something that had happened in the past, that the audience really never had investment on. Meanwhile, all the crimes that the audience was interested in, with Gaius Baltar, weren't really being addressed as effectively, and the trial wasn't about something they could really sink their teeth into. And I tend— and late in the game, I realized that he was right. And so I took a pass at the script, and as I was taking my pass at these two scripts I essentially dumped that plotline completely, and punted and said, "OK, we're going in a different direction."

And I started writing, and started playing with different storylines and different characters, and stripped that out of the entire process, and subsequently it meant that we had to go back and— y'know, we had shot those other episodes, except for the Dualla episode, where— y'know, that was tossed entirely in favor of the [[A Day in the Life|Tyrol episode]] pretty much. But we had established "The Woman King", and a lot of the Sagittaron backstories were in bits and pieces throughout other episodes, and so we had to go back and add it to the reshoot, and take that out of the earlier episodes. And that's just the cost of doing business when you run a show the way that I do, where you— sometimes you improvise and you go in directions that you didn't think you were going to. So a lot of these storylines, like this bit here with Baltar and his cult followers on the outside was something that developed pretty late in the game. I think this might have been a [[Michael Taylor]] script, I think that Michael Taylor, I think, did come up with this notion of the women out there that were sending letters, and he was getting visitations in prison. And it was— it's very [[w:Charles Manson|Mansonesque]]. What's going on, that he— for all his crimes, for all his notoriety within the script— within the Fleet, there's still people out there that caught into him, that start to be attracted to these dark figures that are on trial. And that seems to be what tends happen in these kinds of trials. There are people that are obsessed with them.

That's the end of the tease.


== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

== Act 2 ==

RDM: [[Terry Dresbach|Mrs. Ron]] is tapping away on her keyboard, actually on the [http://forums.scifi.com/index.php?showforum=24 message board] as we speak, and bells are cats running around.

Terry: Mmmm. Yeah, I'm writing about spoilers.

RDM: That cats are running around the room.

Anyway, [[Mary McDonnell|Mary]] and I had talked at length about the fact that the cancer could definitely come back, and that I fully anticipated at some point in the story it would come back, because I still felt that she was the dying leader. That that was who she was. That's- that was her role in the show. And that, while the cancer may have gone into remission for a time, and actually even van- actually vanish according to [[Cottle]], that it was always lurking in the background. And when I put it back in the script and sent it to- sent it out, I- got a call from Mary, 'cause she was surprised too. She said, "Okay. What are we doin' here? And how do wanna play this?" And I said, "Well, I think she approaches this differently this time. I think this time she has been waiting for this other shoe to drop. She has known that it was gonna happen someday and she's thought a lot about how she would- deal with her treatment and her life if her cancer came back. And so this time she's gonna face it in a little differently. She's not gonna hide it. And she's going to deal with the ramifications of it and she's gonna deal with, the reality of it, in a very, very different way." And Mary really liked that. And we had a long talk about it and we committed to this direction and just went for it. And I think it's one of the best things in this particular episode.

This storyline with [[Saul Tigh|Tigh]], Tigh being forced to admit that he killed [[Ellen Tigh|Ellen]] on the stand is a brutal, brutal moment here in the show. I mean, [[Romo Lampkin]] really just twists the knife in this guy. The f- but- it's completely legitimate. He's drinking. He's drunk. He's a drunk witness on the stand, and his credibility is definitely at stake. And this whole notion of, "Why is he after [[Gaius Baltar]]? Why he is he determined to put Baltar out in the airlock?" It's because he blames Baltar for the death of his wife, even though he killed his wife. It's a very complicated emotional line.

As- just to step out a little further away from the show, like I said earlier, there was a lot of trepidation going in. Could we do a trial show? Is a trial show really gonna be effective for [[Battlestar Galactica (RDM)|''Battlestar Galactica'']]? Can we- I mean, essentially, can you do [[w:Law & Order|''Law & Order'']] in ''Battlestar Galactica''? And we had done a- we had done the [[Litmus|tribunal show]] in [[Season 1 (2004-05)|season one]] with [[Galen Tyrol|Tyrol]], and it was OK. I think we liked some aspects of it. Some aspects didn't work as well, but it didn't really feel like we had- cracked it, so I think that made us doubly concerned of our ability to pull it off, but I really wanted to commit to this direction. I just figured, "We're gonna do it. We're gonna make a trial episode." And even as we scripted it and shot it and prepped and shot it and everything, I think we were still all wondering, "Could we pull it off?" But when I saw the first cut, when I saw [[Michael Rymer|Rymer]]'s cut of this show I just went, "Oh my God. We've done it. This is a trial ep- this is a legitimate courtroom drama." And it really works. There's something about the canvas of a trial. The players, the prosecutor, the defense attorneys. The form of the trial, as drama, in the American theatrical tradition has become so familiar, and there's certain rhythms to it and there's certain traditional climaxes and twists and interesting little subsets, that it does become its own subgenre. It's a great to place to tell story. That it's just- it's- the strictures of the courtroom and the rules of the courtroom allow you to concentrate the drama in these little pockets and in these particular moments which- they leach out spontaneity, and they leach out conversation between conversation between characters. It's [[w:Socratic method|Socratic]] in many ways. It's eliciting information simply through questioning.

It's just- this is just a heartbreaking performance by [[Michael Hogan]]. I mean, he really-

Terry: Yes.

RDM: He just so- you feel for him as he gives it up, as he just- as he admits to what he's done on the stand and it's just- terrible.

Terry: He's so good.

RDM: He's so good. He's just so, so good.

Terry: Talk about deserving of an [[w:Emmy Award|Emmy]].

RDM: Yeah, I mean, this guy really... just a fascinating man and a fascinating character. And then he would have to sit in public and confess to his greatest sin and the thing that haunts his dreams and it's just- tragic. While [[William Adama|his best friend in the world]] sits five feet away at the judges table.

You'll notice that there is another judge that speaks quite frequently. It was important that we didn't make the tribunal- that the courtroom wasn't run by Adama, 'cause that just seemed like it pushed the conceit too far. You're already- asking the audience to make a buy here. You're asking them to buy that Adama and [[Lee Adama|Lee]] could both be involved in the court. That's a complete buy. You have to buy that. To then have Adama be the lead judge all the time, and making all the rules, and really be in charge of the trial, was just too much. You just couldn't accept it. So we had to create another judge to carry a lot of that weight.

I like all this stuff. [[Samuel Anders|Anders]] is- we saw in the tease that Anders and [[Diana Seelix|Seelix]], there's the implication that something's going on with those two. That had a lo- more in the script and little bit more was shot to flesh out that story point. And then this look between [[Tory Foster|Tory]] and Anders here, and there's this sound. What's going on with this? Do they hear something? Do they not hear something? What's coming in over the radi- over the [[wireless]] set. This is just slowly bubbling stuff in the background.

And then we get in here. This is- this- there was more to this- to [[Laura Roslin|Laura]] on the witness stand. She talked more about their life on [[New Caprica]]. She talked about the first time she was picked up. She talked about being [[New Caprica Detention Center|in jail]] with Gaius Baltar, him coming to visit her. There was just more description. But it was also stuff that the audience already knows if you've been following along with the show. It built very nicely, and it was well performed, but when you were looking for major cuts within the show, that had to go. And one of the key things that I decided to do in the editing room when we were looking at, "OK. How do you bring these two shows to time?" was I essentially moved up- I essentially cut deeply into [[Crossroads, Part I|part one]], and I pulled up a lot of things out of [[Crossroads, Part II]]. Part one was initially going to end with Laura on the stand saying that she has cancer. That was literally the last line of part one, was Laura saying, "I have cancer." ("Dramatic" Duh-duh-duh.) Fade out. End of story. Several of these subsequent scenes that follow on after Laura's revelation were actually taken from "Crossroads, Part II" and pulled into part one.

This scene here is a fascinating scene, an important scene. It kept going in and out of the cut and I tri- I was- it was a [[w:Super Bowl XXXVIII halftime show controversy|wardrobe problem]] that screwed me in the editing room.

Terry: Oh God, please. What?

RDM: Because I wanted to ma- I wanted at one point to make Laura- Laura's testimony one long piece. That she got on the stand, and then Lee got up and cross examined her, and then this whole thing. But she was in the same- she was in two different outfits. And I-

Terry: Because they probably shot it-

RDM: She was on two different days.

Terry: But wait a second. So they sh- So you wrote it as two different days?

RDM: I wrote it as two different days.

Terry: And then-

RDM: And the-

Terry: And they shot it as two different days.

RDM: Yeah.

Terry: But it was the wardrobe department's problem?

RDM: Yeah. Because they put her in two different outfits.

Terry: For two different days.

RDM: Yeah.

Terry: So actually, you changed your mind.

RDM: Yeah, I changed my mind. And the wardrobe department wasn't smart enough-

Terry: They didn't-

RDM: -to anticipate-

Terry: -to read your mind.

RDM: -that there are many different ways that I might cut the show.

Terry: Right. And go to the director and say, "Could you shoot it in every possible outfit in case [[Ronald D. Moore|Ron]] changes his mind down the road."

RDM: All they had to do is shoot it in one outfit.

Terry: This is the problem. You see, this is the problem people.

RDM: I can't be held responsible for these-

Terry: Right, yeah. But see, if I hadn't been here people would've thought that the wardrobe department somehow messed up instead of the writer.

RDM: If you hadn't been here I wouldn't have even said it about our-

Terry: Yeah, right.

RDM: -lovely wardrobe department and our fabulous costume designer, [[Glenne Campbell]]. No relation.

I was on the set for a lot of this, actually. I went up for some of the shooting of the finale. I hadn't been up to the set in quite a while, and I saw them shoot a lot of the stuff with Lampkin, and Leee, and Baltar in the [[Officer's quarters|quarters]]. These three guys were very- an interesting trio. There's a lot of testosterone going on in this room. There's a lot of just- interesting back and forths. They're like- busting each other's balls between takes. It's an interesting dynamic to watch.


==Act 3==



==Act 4==


RDM: Now as I said earlier a lot of this is drawn from the second part. This scene with [[Anastasia Dualla| Dualla]] leavng [[Lee Adama| Lee]] was this was also something I added in my pass as I was-I really wanted to move the characters forward and start complicating their lives and have fall out. Once Lee did that to [[Laura Roslin| Laura]] I just felt that y'know-he had pretty much ostricized himself from everybody else on the ship. And Dualla, Dualla just wasn't going to do it, she wasn't going to stay with him. And that line there, where Dualla says, "The system, the system is trying to get that man off. That means the system is broken is has to be torn apart and put back together." That's actually something my wife has said, on occasion, about the show and systems of justice. That's actually a lift from conversations that she and I have had. But she's too busy reading the [http://forums.scifi.com/index.php?s=9b6f8778ebd83d7ff420f544dbdd11bf&showforum=24| board] at the moment to really register what I just said.

[[Terry Dresbach| Terry]]: I can't hear it y'know

RDM: No, to what I said.

Terry: Oh.

RDM: (Laughing)

Terry: I hear you all the time.

RDM: This press conference scence is also pulled from-this is I think this whole act was originally part of the teaser of Part II and got pulled up into Part I, umm....Y'know notice how frazzled [[Tory Foster| Tory]] is starting to look here. There was more of an awareness actually in the follow up scene that's coming-that there was a line that was dropped where Laura essentially confro-where she confronts Tory in the scene coming up in th quarters she out-she tells Tory pretty directly, she knows she's sleeping with [[Samuel Anders| Anders]] at that point. Because that that secret was out in the fleet. And Laura was saying, "Y'know your spending more time with Mr. Anders." And Tory kind of blanches. And Laura says, "Y'know that won't, his wife was a hero to a lot of people in this fleet and this isn't looking good and what the F*#$ are you thinking." It was just another thing that she flew at her, and in context by moving the scene up it wasn't something that we had really established in part I so I had to drop it from this confrontational scene between Tory and Laura. Which is kind of shame because it was a really nice moment with Laura-when Laura was chiding her personally and professionally and kind of through her out of the office.

(Pause)

RDM: I love this bit of [[Saul Tigh| Tigh]]. Tigh going slowly crazy, Tigh starting to hear things in the wireless now he's hearing things in the ship. This too, this with [[Karl Agathon| Helo]] returning to XO was again in [[Crossroads, Part II| part II]]. And uh-we intercut these with these sequences to get an out in [[Crossroads, Part I| part I]].  When this was really kind of scripted to be a small beat to try to re-establish the plot of the [[Daru Mozu| tyllium ship]] and trying to lure the [[Cylons]] away and all that. It was just to sort of to try to remind the audience it existed in part II. Now we used it editorially to sort of highten the tension to and sort of make you feel like as dark as things have gotten in this episode there's a change of weather coming and things are going to get worse before they get better. And to sort of highten the tension here at teh end of the episode.

(RDM's cat playing in the background.)

(Pause)

RDM: And there is something just over the horizon.

(RDM's cat playing in the background.)

(Pause)

RDM: (unintelligible) "It's in the ship (RDM imitating Saul Tigh) It's in the frakking ship!" (Laughs) The look on his face, that's just priceless.

Terry: He just-he he he-

RDM: He just-

Terry: He just plays so many different fragments of a human being. I mean-

RDM: Oh yah, always does the colors.

Terry: It's just fabulous.

RDM: It's just great. It's a great episode in my opinion, um-very strong setup for the finale and then next week is our finale. That'll be the it for quite awhile. Stick with us. It's going to be a hell of a ride at the end and next week is the end of the shooting match. Say, "Good night," Mrs. Ron.

Terry: Oh, good night.

RDM: And uh-I will talk to you all next week. Good night and good luck.

Podcast:Crossroads, Part I

2007-03-22T03:59:55Z

Zarek Rocks: Finished with transcript of Act 4 of Podcast for Crossroads I

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast. I'm Ronald D. Moore, developer and executive producer of [[Battlestar Galactica (RDM)|the new "Battlestar Galactica"]], and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello, Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night—

RDM: Yes, and uh—

Terry: In a state of exhaustion. So—

RDM: I hope. So—

Terry: I'm— I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scotch is Urgegragor 10 from— single malt from the [[w:Scottish Highlands|Highlands]].

Terry: There has been a question as to what is your favorite scotch.

RDM: Ah, that's a hard question to answer. [[w:Talisker|Talisker]] is one of my favorites. And err, [[w:Isle of Jura Single Malt|Jura]], that new one that I got from the professor at [[w:University of Southern California|USC]] is a new favorite. This one came from our friend [[w:John Hodgman|John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the [[w:Apple Inc.|Apple]] commercials.

Terry: Ok, let's get into it. This is "Crossroads, Part I". In case you're wondering: no, we did not forget to put what we call the pre-cap on this week's episode, which is the section that says, "The [[Cylons (RDM)|Cylons]] were created by Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So— to give us— in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the [[Opera House]], which we've seen before, the [[Kobol]] Opera House, was a very late addition to the script. I took a pass at the finale fairly late in the process, while we were in prep. And I added this section and some other pieces that we'll talk about as we come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very [[w:Don't Look Now|"Don't Look Now,"]] the [[w:Nicolas Roeg|Nicolas Roeg]] picture in a lot of these shots and very very creepy and very effective. I like a lot of this a lot. Originally— we had always known that we wanted to do the trial of [[Gaius Baltar]] [[Season 3 (2006-07)|this season]]. And originally it was going to take place, I believe, around episode 12 or 13, after the [[Rapture|escape]] from the [[algae planet]]. And then as time went on we started talking about what the season finale was going to be, and I started getting more and more in love with the idea that the season finale was actually going to be the trial of Gaius Baltar. And that took a little bit of salesmanship, actually, with [[Sci Fi|the network]]. The network was not entirely convinced that we would— that a trial episode was really the best way to end the season. But I was really sold on it, and then went back to the writers' room and then said "OK, we have to really deliver, 'cause they're definitely skeptical this time about what— y'know, about our ability to pull this off."

So as— so we developed this long arc that was going to culminate in the trial, which I've talked about before, with the [[Sagittaron]]s becoming a problem within the [[The Fleet (RDM)|Fleet]], and that's where the [[Helo]], "[[The Woman King]]" episode originated, to introduce the (unintelligible) Sagittarons. Then we had more storylines with them, as sort of a sub-group within [[The Twelve Colonies (RDM)|the Twelve Colonies]], and how they were the outcasts of the bunch that— y'know, the other colo— tribes tended to take advantage of them. And it was included in this— in the initial drafts of these two episodes and it was going to form a key part of the trial. And it wa— the plot was essentially that as bit by bit the defense team, Baltar's defense team, kicked the legs out from under the prosecution case as it was presented, there came a point where [[Lee Adama|Lee]], who at that point in our story was actually going to be the sole attorney for Gaius Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody from the [[black market]], and the video tape was going to have on it actual footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar, and he's pulling the trigger and he's killing people. And it was— it just had him dead to rights, and that's where this episode was going to end: with Lee coming into possession of that video tape and what was he going to do?

And then the [[Crossroads, Part II|second part of the episode]]— the second part of "Crossroads" was going to deal with what does he do with the video tape, how does— y'know, getting into the backstory of what happened on New Caprica, the idea was that the Sagittarons had sort of isolated themselves from the rest of the population, and there was a famine that had struck the food supplies, and people were in desperate straits, and the Sagittarons were refusing to share the food that they had carefully cultivated to themselves. And at some point Baltar— and the government sent in the troops and Baltar got involved in the situation, which at first looked on the video tape like he was a cold-blooded murderer, but as the case went on you discovered that actually— that he was more— it was more along the lines of the moment in [[w:Lawrence of Arabia (film)|"Lawrence of Arabia"]] where Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes as we went to prep, but the problem was they were just— it just wasn't working, because I think when we read it, [[Michael Rymer]] was probably the first one to put his finger to it, that— y'know, it was making up this other storyline about something that had happened in the past, that the audience really never had investment on. Meanwhile, all the crimes that the audience was interested in, with Gaius Baltar, weren't really being addressed as effectively, and the trial wasn't about something they could really sink their teeth into. And I tend— and late in the game, I realized that he was right. And so I took a pass at the script, and as I was taking my pass at these two scripts I essentially dumped that plotline completely, and punted and said, "OK, we're going in a different direction."

And I started writing, and started playing with different storylines and different characters, and stripped that out of the entire process, and subsequently it meant that we had to go back and— y'know, we had shot those other episodes, except for the Dualla episode, where— y'know, that was tossed entirely in favor of the [[A Day in the Life|Tyrol episode]] pretty much. But we had established "The Woman King", and a lot of the Sagittaron backstories were in bits and pieces throughout other episodes, and so we had to go back and add it to the reshoot, and take that out of the earlier episodes. And that's just the cost of doing business when you run a show the way that I do, where you— sometimes you improvise and you go in directions that you didn't think you were going to. So a lot of these storylines, like this bit here with Baltar and his cult followers on the outside was something that developed pretty late in the game. I think this might have been a [[Michael Taylor]] script, I think that Michael Taylor, I think, did come up with this notion of the women out there that were sending letters, and he was getting visitations in prison. And it was— it's very [[w:Charles Manson|Mansonesque]]. What's going on, that he— for all his crimes, for all his notoriety within the script— within the Fleet, there's still people out there that caught into him, that start to be attracted to these dark figures that are on trial. And that seems to be what tends happen in these kinds of trials. There are people that are obsessed with them.

That's the end of the tease.


== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

== Act 2 ==

RDM: [[Terry Dresbach|Mrs. Ron]] is tapping away on her keyboard, actually on the [http://forums.scifi.com/index.php?showforum=24 message board] as we speak, and bells are cats running around.

Terry: Mmmm. Yeah, I'm writing about spoilers.

RDM: That cats are running around the room.

Anyway, [[Mary McDonnell|Mary]] and I had talked at length about the fact that the cancer could definitely come back, and that I fully anticipated at some point in the story it would come back, because I still felt that she was the dying leader. That that was who she was. That's- that was her role in the show. And that, while the cancer may have gone into remission for a time, and actually even van- actually vanish according to [[Cottle]], that it was always lurking in the background. And when I put it back in the script and sent it to- sent it out, I- got a call from Mary, 'cause she was surprised too. She said, "Okay. What are we doin' here? And how do wanna play this?" And I said, "Well, I think she approaches this differently this time. I think this time she has been waiting for this other shoe to drop. She has known that it was gonna happen someday and she's thought a lot about how she would- deal with her treatment and her life if her cancer came back. And so this time she's gonna face it in a little differently. She's not gonna hide it. And she's going to deal with the ramifications of it and she's gonna deal with, the reality of it, in a very, very different way." And Mary really liked that. And we had a long talk about it and we committed to this direction and just went for it. And I think it's one of the best things in this particular episode.

This storyline with [[Saul Tigh|Tigh]], Tigh being forced to admit that he killed [[Ellen Tigh|Ellen]] on the stand is a brutal, brutal moment here in the show. I mean, [[Romo Lampkin]] really just twists the knife in this guy. The f- but- it's completely legitimate. He's drinking. He's drunk. He's a drunk witness on the stand, and his credibility is definitely at stake. And this whole notion of, "Why is he after [[Gaius Baltar]]? Why he is he determined to put Baltar out in the airlock?" It's because he blames Baltar for the death of his wife, even though he killed his wife. It's a very complicated emotional line.

As- just to step out a little further away from the show, like I said earlier, there was a lot of trepidation going in. Could we do a trial show? Is a trial show really gonna be effective for [[Battlestar Galactica (RDM)|''Battlestar Galactica'']]? Can we- I mean, essentially, can you do [[w:Law & Order|''Law & Order'']] in ''Battlestar Galactica''? And we had done a- we had done the [[Litmus|tribunal show]] in [[Season 1 (2004-05)|season one]] with [[Galen Tyrol|Tyrol]], and it was OK. I think we liked some aspects of it. Some aspects didn't work as well, but it didn't really feel like we had- cracked it, so I think that made us doubly concerned of our ability to pull it off, but I really wanted to commit to this direction. I just figured, "We're gonna do it. We're gonna make a trial episode." And even as we scripted it and shot it and prepped and shot it and everything, I think we were still all wondering, "Could we pull it off?" But when I saw the first cut, when I saw [[Michael Rymer|Rymer]]'s cut of this show I just went, "Oh my God. We've done it. This is a trial ep- this is a legitimate courtroom drama." And it really works. There's something about the canvas of a trial. The players, the prosecutor, the defense attorneys. The form of the trial, as drama, in the American theatrical tradition has become so familiar, and there's certain rhythms to it and there's certain traditional climaxes and twists and interesting little subsets, that it does become its own subgenre. It's a great to place to tell story. That it's just- it's- the strictures of the courtroom and the rules of the courtroom allow you to concentrate the drama in these little pockets and in these particular moments which- they leach out spontaneity, and they leach out conversation between conversation between characters. It's [[w:Socratic method|Socratic]] in many ways. It's eliciting information simply through questioning.

It's just- this is just a heartbreaking performance by [[Michael Hogan]]. I mean, he really-

Terry: Yes.

RDM: He just so- you feel for him as he gives it up, as he just- as he admits to what he's done on the stand and it's just- terrible.

Terry: He's so good.

RDM: He's so good. He's just so, so good.

Terry: Talk about deserving of an [[w:Emmy Award|Emmy]].

RDM: Yeah, I mean, this guy really... just a fascinating man and a fascinating character. And then he would have to sit in public and confess to his greatest sin and the thing that haunts his dreams and it's just- tragic. While [[William Adama|his best friend in the world]] sits five feet away at the judges table.

You'll notice that there is another judge that speaks quite frequently. It was important that we didn't make the tribunal- that the courtroom wasn't run by Adama, 'cause that just seemed like it pushed the conceit too far. You're already- asking the audience to make a buy here. You're asking them to buy that Adama and [[Lee Adama|Lee]] could both be involved in the court. That's a complete buy. You have to buy that. To then have Adama be the lead judge all the time, and making all the rules, and really be in charge of the trial, was just too much. You just couldn't accept it. So we had to create another judge to carry a lot of that weight.

I like all this stuff. [[Samuel Anders|Anders]] is- we saw in the tease that Anders and [[Diana Seelix|Seelix]], there's the implication that something's going on with those two. That had a lo- more in the script and little bit more was shot to flesh out that story point. And then this look between [[Tory Foster|Tory]] and Anders here, and there's this sound. What's going on with this? Do they hear something? Do they not hear something? What's coming in over the radi- over the [[wireless]] set. This is just slowly bubbling stuff in the background.

And then we get in here. This is- this- there was more to this- to [[Laura Roslin|Laura]] on the witness stand. She talked more about their life on [[New Caprica]]. She talked about the first time she was picked up. She talked about being [[New Caprica Detention Center|in jail]] with Gaius Baltar, him coming to visit her. There was just more description. But it was also stuff that the audience already knows if you've been following along with the show. It built very nicely, and it was well performed, but when you were looking for major cuts within the show, that had to go. And one of the key things that I decided to do in the editing room when we were looking at, "OK. How do you bring these two shows to time?" was I essentially moved up- I essentially cut deeply into [[Crossroads, Part I|part one]], and I pulled up a lot of things out of [[Crossroads, Part II]]. Part one was initially going to end with Laura on the stand saying that she has cancer. That was literally the last line of part one, was Laura saying, "I have cancer." ("Dramatic" Duh-duh-duh.) Fade out. End of story. Several of these subsequent scenes that follow on after Laura's revelation were actually taken from "Crossroads, Part II" and pulled into part one.

This scene here is a fascinating scene, an important scene. It kept going in and out of the cut and I tri- I was- it was a [[w:Super Bowl XXXVIII halftime show controversy|wardrobe problem]] that screwed me in the editing room.

Terry: Oh God, please. What?

RDM: Because I wanted to ma- I wanted at one point to make Laura- Laura's testimony one long piece. That she got on the stand, and then Lee got up and cross examined her, and then this whole thing. But she was in the same- she was in two different outfits. And I-

Terry: Because they probably shot it-

RDM: She was on two different days.

Terry: But wait a second. So they sh- So you wrote it as two different days?

RDM: I wrote it as two different days.

Terry: And then-

RDM: And the-

Terry: And they shot it as two different days.

RDM: Yeah.

Terry: But it was the wardrobe department's problem?

RDM: Yeah. Because they put her in two different outfits.

Terry: For two different days.

RDM: Yeah.

Terry: So actually, you changed your mind.

RDM: Yeah, I changed my mind. And the wardrobe department wasn't smart enough-

Terry: They didn't-

RDM: -to anticipate-

Terry: -to read your mind.

RDM: -that there are many different ways that I might cut the show.

Terry: Right. And go to the director and say, "Could you shoot it in every possible outfit in case [[Ronald D. Moore|Ron]] changes his mind down the road."

RDM: All they had to do is shoot it in one outfit.

Terry: This is the problem. You see, this is the problem people.

RDM: I can't be held responsible for these-

Terry: Right, yeah. But see, if I hadn't been here people would've thought that the wardrobe department somehow messed up instead of the writer.

RDM: If you hadn't been here I wouldn't have even said it about our-

Terry: Yeah, right.

RDM: -lovely wardrobe department and our fabulous costume designer, [[Glenne Campbell]]. No relation.

I was on the set for a lot of this, actually. I went up for some of the shooting of the finale. I hadn't been up to the set in quite a while, and I saw them shoot a lot of the stuff with Lampkin, and Leee, and Baltar in the [[Officer's quarters|quarters]]. These three guys were very- an interesting trio. There's a lot of testosterone going on in this room. There's a lot of just- interesting back and forths. They're like- busting each other's balls between takes. It's an interesting dynamic to watch.


==Act 3==



==Act 4==


RDM: Now as I said earlier a lot of this is drawn from the second part. This scene with [[Anastasia Dualla| Dualla]] leavng [[Lee Adama| Lee]] was this was also something I added in my pass as I was-I really wanted to move the characters forward and start complicating their lives and have fall out. Once Lee did that to [[Laura Roslin| Laura]] I just felt that y'know-he had pretty much ostricized himself from everybody else on the ship. And Dualla, Dualla just wasn't going to do it, she wasn't going to stay with him. And that line there, where Dualla says, "The system, the system is trying to get that man off. That means the system is broken is has to be torn apart and put back together." That's actually something my wife has said, on occasion, about the show and systems of justice. That's actually a lift from conversations that she and I have had. But she's too busy reading the [http://forums.scifi.com/index.php?s=9b6f8778ebd83d7ff420f544dbdd11bf&showforum=24| board] at the moment to really register what I just said.

Terry: I can't hear it (Very Hostile Tone) y'know

RDM: No, to what I said.

Terry: Oh.

RDM: (Laughing)

Terry: I hear you all the time.

RDM: This press conference scence is also pulled from-this is I think this whole act was originally part of the teaser of Part II and got pulled up into Part I, umm....Y'know notice how frazzled [[Tory Foster| Tory]] is starting to look here. There was more of an awareness actually in the follow up scene that's coming-that there was a line that was dropped where Laura essentially confro-where she confronts Tory in the scene coming up in th quarters she out-she tells Tory pretty directly, she knows she's sleeping with [[Samuel Anders| Anders]] at that point. Because that that secret was out in the fleet. And Laura was saying, "Y'know your spending more time with Mr. Anders." And Tory kind of blanches. And Laura says, "Y'know that won't, his wife was a hero to a lot of people in this fleet and this isn't looking good and what the F*#$ are you thinking." It was just another thing that she flew at her, and in context by moving the scene up it wasn't something that we had really established in part I so I had to drop it from this confrontational scene between Tory and Laura. Which is kind of shame because it was a really nice moment with Laura-when Laura was chiding her personally and professionally and kind of through her out of the office.

(Pause)

RDM: I love this bit of [[Saul Tigh| Tigh]]. Tigh going slowly crazy, Tigh starting to hear things in the wireless now he's hearing things in the ship. This too, this with [[Karl Agathon| Helo]] returning to XO was again in [[Crossroads, Part II| part II]]. And uh-we intercut these with these sequences to get an out in [[Crossroads, Part I| part I]].  When this was really kind of scripted to be a small beat to try to re-establish the plot of the [[Daru Mozu| tyllium ship]] and trying to lure the [[Cylons]] away and all that. It was just to sort of to try to remind the audience it existed in part II. Now we used it editorially to sort of highten the tension to and sort of make you feel like as dark as things have gotten in this episode there's a change of weather coming and things are going to get worse before they get better. And to sort of highten the tension here at teh end of the episode.

(RDM's cat playing in the background.)

(Pause)

RDM: And there is something just over the horizon.

(RDM's cat playing in the background.)

(Pause)

RDM: (unintelligible) "It's in the ship (RDM imitating Saul Tigh) It's in the frakking ship!" (Laughs) The look on his face, that's just priceless.

Terry: He just-he he he-

RDM: He just-

Terry: He just plays so many different fragments of a human being. I mean-

RDM: Oh yah, always does the colors.

Terry: It's just fabulous.

RDM: It's just great. It's a great episode in my opinion, um-very strong setup for the finale and then next week is our finale. That'll be the it for quite awhile. Stick with us. It's going to be a hell of a ride at the end and next week is the end of the shooting match. Say, "Good night," Mrs. Ron.

Terry: Oh, good night.

RDM: And uh-I will talk to you all next week. Good night and good luck.

Podcast:Crossroads, Part I

2007-03-21T23:29:49Z

Zarek Rocks: Act 4 of podcast transcript up to 41:50

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast. I'm Ronald D. Moore, developer and executive producer of [[Battlestar Galactica (RDM)|the new "Battlestar Galactica"]], and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello, Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night—

RDM: Yes, and uh—

Terry: In a state of exhaustion. So—

RDM: I hope. So—

Terry: I'm— I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scotch is Urgegragor 10 from— single malt from the [[w:Scottish Highlands|Highlands]].

Terry: There has been a question as to what is your favorite scotch.

RDM: Ah, that's a hard question to answer. [[w:Talisker|Talisker]] is one of my favorites. And err, [[w:Isle of Jura Single Malt|Jura]], that new one that I got from the professor at [[w:University of Southern California|USC]] is a new favorite. This one came from our friend [[w:John Hodgman|John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the [[w:Apple Inc.|Apple]] commercials.

Terry: Ok, let's get into it. This is "Crossroads, Part I". In case you're wondering: no, we did not forget to put what we call the pre-cap on this week's episode, which is the section that says, "The [[Cylons (RDM)|Cylons]] were created by Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So— to give us— in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the [[Opera House]], which we've seen before, the [[Kobol]] Opera House, was a very late addition to the script. I took a pass at the finale fairly late in the process, while we were in prep. And I added this section and some other pieces that we'll talk about as we come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very [[w:Don't Look Now|"Don't Look Now,"]] the [[w:Nicolas Roeg|Nicolas Roeg]] picture in a lot of these shots and very very creepy and very effective. I like a lot of this a lot. Originally— we had always known that we wanted to do the trial of [[Gaius Baltar]] [[Season 3 (2006-07)|this season]]. And originally it was going to take place, I believe, around episode 12 or 13, after the [[Rapture|escape]] from the [[algae planet]]. And then as time went on we started talking about what the season finale was going to be, and I started getting more and more in love with the idea that the season finale was actually going to be the trial of Gaius Baltar. And that took a little bit of salesmanship, actually, with [[Sci Fi|the network]]. The network was not entirely convinced that we would— that a trial episode was really the best way to end the season. But I was really sold on it, and then went back to the writers' room and then said "OK, we have to really deliver, 'cause they're definitely skeptical this time about what— y'know, about our ability to pull this off."

So as— so we developed this long arc that was going to culminate in the trial, which I've talked about before, with the [[Sagittaron]]s becoming a problem within the [[The Fleet (RDM)|Fleet]], and that's where the [[Helo]], "[[The Woman King]]" episode originated, to introduce the (unintelligible) Sagittarons. Then we had more storylines with them, as sort of a sub-group within [[The Twelve Colonies (RDM)|the Twelve Colonies]], and how they were the outcasts of the bunch that— y'know, the other colo— tribes tended to take advantage of them. And it was included in this— in the initial drafts of these two episodes and it was going to form a key part of the trial. And it wa— the plot was essentially that as bit by bit the defense team, Baltar's defense team, kicked the legs out from under the prosecution case as it was presented, there came a point where [[Lee Adama|Lee]], who at that point in our story was actually going to be the sole attorney for Gaius Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody from the [[black market]], and the video tape was going to have on it actual footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar, and he's pulling the trigger and he's killing people. And it was— it just had him dead to rights, and that's where this episode was going to end: with Lee coming into possession of that video tape and what was he going to do?

And then the [[Crossroads, Part II|second part of the episode]]— the second part of "Crossroads" was going to deal with what does he do with the video tape, how does— y'know, getting into the backstory of what happened on New Caprica, the idea was that the Sagittarons had sort of isolated themselves from the rest of the population, and there was a famine that had struck the food supplies, and people were in desperate straits, and the Sagittarons were refusing to share the food that they had carefully cultivated to themselves. And at some point Baltar— and the government sent in the troops and Baltar got involved in the situation, which at first looked on the video tape like he was a cold-blooded murderer, but as the case went on you discovered that actually— that he was more— it was more along the lines of the moment in [[w:Lawrence of Arabia (film)|"Lawrence of Arabia"]] where Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes as we went to prep, but the problem was they were just— it just wasn't working, because I think when we read it, [[Michael Rymer]] was probably the first one to put his finger to it, that— y'know, it was making up this other storyline about something that had happened in the past, that the audience really never had investment on. Meanwhile, all the crimes that the audience was interested in, with Gaius Baltar, weren't really being addressed as effectively, and the trial wasn't about something they could really sink their teeth into. And I tend— and late in the game, I realized that he was right. And so I took a pass at the script, and as I was taking my pass at these two scripts I essentially dumped that plotline completely, and punted and said, "OK, we're going in a different direction."

And I started writing, and started playing with different storylines and different characters, and stripped that out of the entire process, and subsequently it meant that we had to go back and— y'know, we had shot those other episodes, except for the Dualla episode, where— y'know, that was tossed entirely in favor of the [[A Day in the Life|Tyrol episode]] pretty much. But we had established "The Woman King", and a lot of the Sagittaron backstories were in bits and pieces throughout other episodes, and so we had to go back and add it to the reshoot, and take that out of the earlier episodes. And that's just the cost of doing business when you run a show the way that I do, where you— sometimes you improvise and you go in directions that you didn't think you were going to. So a lot of these storylines, like this bit here with Baltar and his cult followers on the outside was something that developed pretty late in the game. I think this might have been a [[Michael Taylor]] script, I think that Michael Taylor, I think, did come up with this notion of the women out there that were sending letters, and he was getting visitations in prison. And it was— it's very [[w:Charles Manson|Mansonesque]]. What's going on, that he— for all his crimes, for all his notoriety within the script— within the Fleet, there's still people out there that caught into him, that start to be attracted to these dark figures that are on trial. And that seems to be what tends happen in these kinds of trials. There are people that are obsessed with them.

That's the end of the tease.


== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

== Act 2 ==

RDM: [[Terry Dresbach|Mrs. Ron]] is tapping away on her keyboard, actually on the [http://forums.scifi.com/index.php?showforum=24 message board] as we speak, and bells are cats running around.

Terry: Mmmm. Yeah, I'm writing about spoilers.

RDM: That cats are running around the room.

Anyway, [[Mary McDonnell|Mary]] and I had talked at length about the fact that the cancer could definitely come back, and that I fully anticipated at some point in the story it would come back, because I still felt that she was the dying leader. That that was who she was. That's- that was her role in the show. And that, while the cancer may have gone into remission for a time, and actually even van- actually vanish according to [[Cottle]], that it was always lurking in the background. And when I put it back in the script and sent it to- sent it out, I- got a call from Mary, 'cause she was surprised too. She said, "Okay. What are we doin' here? And how do wanna play this?" And I said, "Well, I think she approaches this differently this time. I think this time she has been waiting for this other shoe to drop. She has known that it was gonna happen someday and she's thought a lot about how she would- deal with her treatment and her life if her cancer came back. And so this time she's gonna face it in a little differently. She's not gonna hide it. And she's going to deal with the ramifications of it and she's gonna deal with, the reality of it, in a very, very different way." And Mary really liked that. And we had a long talk about it and we committed to this direction and just went for it. And I think it's one of the best things in this particular episode.

This storyline with [[Saul Tigh|Tigh]], Tigh being forced to admit that he killed [[Ellen Tigh|Ellen]] on the stand is a brutal, brutal moment here in the show. I mean, [[Romo Lampkin]] really just twists the knife in this guy. The f- but- it's completely legitimate. He's drinking. He's drunk. He's a drunk witness on the stand, and his credibility is definitely at stake. And this whole notion of, "Why is he after [[Gaius Baltar]]? Why he is he determined to put Baltar out in the airlock?" It's because he blames Baltar for the death of his wife, even though he killed his wife. It's a very complicated emotional line.

As- just to step out a little further away from the show, like I said earlier, there was a lot of trepidation going in. Could we do a trial show? Is a trial show really gonna be effective for [[Battlestar Galactica (RDM)|''Battlestar Galactica'']]? Can we- I mean, essentially, can you do [[w:Law & Order|''Law & Order'']] in ''Battlestar Galactica''? And we had done a- we had done the [[Litmus|tribunal show]] in [[Season 1 (2004-05)|season one]] with [[Galen Tyrol|Tyrol]], and it was OK. I think we liked some aspects of it. Some aspects didn't work as well, but it didn't really feel like we had- cracked it, so I think that made us doubly concerned of our ability to pull it off, but I really wanted to commit to this direction. I just figured, "We're gonna do it. We're gonna make a trial episode." And even as we scripted it and shot it and prepped and shot it and everything, I think we were still all wondering, "Could we pull it off?" But when I saw the first cut, when I saw [[Michael Rymer|Rymer]]'s cut of this show I just went, "Oh my God. We've done it. This is a trial ep- this is a legitimate courtroom drama." And it really works. There's something about the canvas of a trial. The players, the prosecutor, the defense attorneys. The form of the trial, as drama, in the American theatrical tradition has become so familiar, and there's certain rhythms to it and there's certain traditional climaxes and twists and interesting little subsets, that it does become its own subgenre. It's a great to place to tell story. That it's just- it's- the strictures of the courtroom and the rules of the courtroom allow you to concentrate the drama in these little pockets and in these particular moments which- they leach out spontaneity, and they leach out conversation between conversation between characters. It's [[w:Socratic method|Socratic]] in many ways. It's eliciting information simply through questioning.

It's just- this is just a heartbreaking performance by [[Michael Hogan]]. I mean, he really-

Terry: Yes.

RDM: He just so- you feel for him as he gives it up, as he just- as he admits to what he's done on the stand and it's just- terrible.

Terry: He's so good.

RDM: He's so good. He's just so, so good.

Terry: Talk about deserving of an [[w:Emmy Award|Emmy]].

RDM: Yeah, I mean, this guy really... just a fascinating man and a fascinating character. And then he would have to sit in public and confess to his greatest sin and the thing that haunts his dreams and it's just- tragic. While [[William Adama|his best friend in the world]] sits five feet away at the judges table.

You'll notice that there is another judge that speaks quite frequently. It was important that we didn't make the tribunal- that the courtroom wasn't run by Adama, 'cause that just seemed like it pushed the conceit too far. You're already- asking the audience to make a buy here. You're asking them to buy that Adama and [[Lee Adama|Lee]] could both be involved in the court. That's a complete buy. You have to buy that. To then have Adama be the lead judge all the time, and making all the rules, and really be in charge of the trial, was just too much. You just couldn't accept it. So we had to create another judge to carry a lot of that weight.

I like all this stuff. [[Samuel Anders|Anders]] is- we saw in the tease that Anders and [[Diana Seelix|Seelix]], there's the implication that something's going on with those two. That had a lo- more in the script and little bit more was shot to flesh out that story point. And then this look between [[Tory Foster|Tory]] and Anders here, and there's this sound. What's going on with this? Do they hear something? Do they not hear something? What's coming in over the radi- over the [[wireless]] set. This is just slowly bubbling stuff in the background.

And then we get in here. This is- this- there was more to this- to [[Laura Roslin|Laura]] on the witness stand. She talked more about their life on [[New Caprica]]. She talked about the first time she was picked up. She talked about being [[New Caprica Detention Center|in jail]] with Gaius Baltar, him coming to visit her. There was just more description. But it was also stuff that the audience already knows if you've been following along with the show. It built very nicely, and it was well performed, but when you were looking for major cuts within the show, that had to go. And one of the key things that I decided to do in the editing room when we were looking at, "OK. How do you bring these two shows to time?" was I essentially moved up- I essentially cut deeply into [[Crossroads, Part I|part one]], and I pulled up a lot of things out of [[Crossroads, Part II]]. Part one was initially going to end with Laura on the stand saying that she has cancer. That was literally the last line of part one, was Laura saying, "I have cancer." ("Dramatic" Duh-duh-duh.) Fade out. End of story. Several of these subsequent scenes that follow on after Laura's revelation were actually taken from "Crossroads, Part II" and pulled into part one.

This scene here is a fascinating scene, an important scene. It kept going in and out of the cut and I tri- I was- it was a [[w:Super Bowl XXXVIII halftime show controversy|wardrobe problem]] that screwed me in the editing room.

Terry: Oh God, please. What?

RDM: Because I wanted to ma- I wanted at one point to make Laura- Laura's testimony one long piece. That she got on the stand, and then Lee got up and cross examined her, and then this whole thing. But she was in the same- she was in two different outfits. And I-

Terry: Because they probably shot it-

RDM: She was on two different days.

Terry: But wait a second. So they sh- So you wrote it as two different days?

RDM: I wrote it as two different days.

Terry: And then-

RDM: And the-

Terry: And they shot it as two different days.

RDM: Yeah.

Terry: But it was the wardrobe department's problem?

RDM: Yeah. Because they put her in two different outfits.

Terry: For two different days.

RDM: Yeah.

Terry: So actually, you changed your mind.

RDM: Yeah, I changed my mind. And the wardrobe department wasn't smart enough-

Terry: They didn't-

RDM: -to anticipate-

Terry: -to read your mind.

RDM: -that there are many different ways that I might cut the show.

Terry: Right. And go to the director and say, "Could you shoot it in every possible outfit in case [[Ronald D. Moore|Ron]] changes his mind down the road."

RDM: All they had to do is shoot it in one outfit.

Terry: This is the problem. You see, this is the problem people.

RDM: I can't be held responsible for these-

Terry: Right, yeah. But see, if I hadn't been here people would've thought that the wardrobe department somehow messed up instead of the writer.

RDM: If you hadn't been here I wouldn't have even said it about our-

Terry: Yeah, right.

RDM: -lovely wardrobe department and our fabulous costume designer, [[Glenne Campbell]]. No relation.

I was on the set for a lot of this, actually. I went up for some of the shooting of the finale. I hadn't been up to the set in quite a while, and I saw them shoot a lot of the stuff with Lampkin, and Leee, and Baltar in the [[Officer's quarters|quarters]]. These three guys were very- an interesting trio. There's a lot of testosterone going on in this room. There's a lot of just- interesting back and forths. They're like- busting each other's balls between takes. It's an interesting dynamic to watch.


==Act 4==


RDM: Now as I said earlier a lot of this is drawn from the second part. This scene with [[Anastasia Dualla| Dualla]] leavng [[Lee Adama| Lee]] was this was also something I added in my pass as I was-I really wanted to move the characters forward and start complicating their lives and have fall out. Once Lee did that to [[Laura Roslin| Laura]] I just felt that y'know-he had pretty much ostricized himself from everybody else on the ship. And Dualla, Dualla just wasn't going to do it, she wasn't going to stay with him. And that line there, where Dualla says, "The system, the system is trying to get that man off. That means the system is broken is has to be torn apart and put back together." That's actually something my wife has said, on occasion, about the show and systems of justice. That's actually a lift from conversations that she and I have had. But she's too busy reading the [http://forums.scifi.com/index.php?s=9b6f8778ebd83d7ff420f544dbdd11bf&showforum=24| board] at the moment to really register what I just said.

Terry: I can't hear it (Very Hostile Tone) y'know

RDM: No, to what I said.

Terry: Oh.

RDM: (Laughing)

Terry: I hear you all the time.

RDM: This press conference scence is also pulled from-this is I think this whole act was originally part of the teaser of Part II and got pulled up into Part I, umm....Y'know notice how frazzled [[Tory Foster| Tory]] is starting to look here. There was more of an awareness actually in the follow up scene that's coming-that there was a line that was dropped where Laura essentially confro-where she confronts Tory in the scene coming up in th quarters she out-she tells Tory pretty directly, she knows she's sleeping with [[Samuel Anders| Anders]] at that point. Because that that secret was out in the fleet. And Laura was saying, "Y'know your spending more time with Mr. Anders." And Tory kind of blanches. And Laura says, "Y'know that won't, his wife was a hero to a lot of people in this fleet and this isn't looking good and what the F*#$ are you thinking." It was just another thing that she flew at her, and in context by moving the scene up it wasn't something that we had really established in part I so I had to drop it from this confrontational scene between Tory and Laura. Which is kind of shame because it was a really nice moment with Laura-when Laura was chiding her personally and professionally and kind of through her out of the office.

(Pause)

RDM: I love this bit of [[Saul Tigh| Tigh]]. Tigh going slowly crazy, Tigh starting to hear things in the wireless now he's hearing things in the ship. This too, this with [[Karl Agathon| Helo]] returning to XO was again in [[Crossroads, Part II| part II]]. And uh-we intercut these with these sequences to get an out in [[Crossroads, Part I| part I]].

Battlestar Wiki:Podcast Transcripts

2007-03-21T22:54:54Z

Zarek Rocks: Claiming Act 4 of Podcast Transcription for Crossroads I

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Zarek Rocks|Zarek Rocks]] 21:37, 19 March 2007 (CDT) Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 16:18, 21 March 2007 (CDT).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 16:27, 20 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 14:02, 21 March 2007 (CDT). Verified: —.)
*Act 3 (Transcribed: —. Verified: —.)
*Act 4 (Transcribed: —. Verified: —.) --Zarek Rocks 17:54, 21 March 2007 (CDT)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --Zarek Rocks 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --Zarek Rocks 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --Zarek Rocks 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Podcast:Crossroads, Part I

2007-03-21T22:51:30Z

Zarek Rocks: Starting Act 4 Podcast Transcription for Crossroads I

Podcast:Crossroads, Part I

2007-03-21T02:38:10Z

Zarek Rocks: Finished the Teaser Transcript for Crossroads I

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talisker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Rapture| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[The Woman King]] episode originated to introduce the Sagittarons. We had more storylines with them as a sort of sub-group within [[The Twelve Colonies (RDM)| the twelve colonies]]. And how they were sort of the ouitcasts of the bunch the the other colo-tribes sort of take advantage of them. It was included in this intialy drafts of these two episodes and it was going to play a key part in the trial. It wa-the plot was esentialy that as bit by bit the defense team, Baltar's defense team kicked the-the legs out from under the prosecution's case as it was presented there came a point where [[Lee]], who at that point was going to be the sole attorney for Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody on the black market and the video tape was going to have on it actually video footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar pulling the trigger and he's killing people. It just had him dead to rights, and that's where this episode whas going to end: with Lee coming into possession of this video tape and deciding what was he going to do? The second part of the episode-the second part of Crossroads was going to deal with the dupe video tape getting into the backstory on New Caprica. The idea was that the Sagittarons had sort of isolated themselves from the rest of the population and there was a famine that struck the food supply and people were in desperate straits. The Sagittarons were refusing to share the food that they had carefully cultivated to themselves. At some point Baltar-and the government sent in the troops and Baltar got involved in the situation that at first looked on the video tape like he was a cold-blooded murder; but as the case went on you discovered that actually; but as the case went on you discovered that actually that he was more-it was more along the lines of the moment in [[w:Lawrence of Arabia (film)| Lawrence of Arabia]] that Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes when we went into prep. The problem was, it just wasn't working because when we read it-[[Michael Rymer]] was probably the first person to put a finger on it- that it was making up a storyline that the audience wasn't invested in. Meanwhile, all the crimes that the audience was interested in with Gaius Baltar weren't being addressed as effectively and the trial wasn't really about anything they could really sink their teeth into. And I tend-and late in the game I realized that he was right. So I took a pass at the script and as I was taking my pass at these two scripts I essentially dumped that plotline completely-And uh-punted and said, "Ok, we're going in a different direction." And I started writing started playing with different storylines and different characters and stripped that out of the entire porcess and it subsequently meant that we had to go back and we had y'know-we had shot those other episodes except for the Dualla episode and that was dumped entirely in favor of the Tyrol episode. We had established the Woman King and a lot of the Sagittaron backstories was in bits and pieces in the other episodes and so we had to go back add it to the reshoot and take that out of the earlier episodes and that's just sort of the cost of doing business when you run a tv show the way I do. Where you sometimes you improvise and you go in directions that you didn't think you were going to. So a lot of these storylines, like this one here with Baltar and his cult followers on teh outside was somehting that developed pretty late in the game. I think this might of been in [[Michael Taylor| Michael Taylor's]] script-I take that back Michael Taylor did come up with this notion of the women out there that were sending letters and he was receiving visitations in prison. It's very [[w:Charles Manson| Mansonesc]]. What's going on, for all his crimes; for all his notoriety in the script-within the fleet, there's still people out there that caught into him, that seem to be attracted to these dark figures that are on trial. That seems to be uh-tends to be what happens in these kind of trials. There are people that are obsessed with them.

== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

Podcast:Crossroads, Part I

2007-03-20T23:31:35Z

Zarek Rocks: Podcast for Teaser of Crossroads I up to 6:36

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talisker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Rapture| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[The Woman King]] episode originated to introduce the Sagittarons. We had more storylines with them as a sort of sub-group within [[The Twelve Colonies (RDM)| the twelve colonies]]. And how they were sort of the ouitcasts of the bunch the the other colo-tribes sort of take advantage of them. It was included in this intialy drafts of these two episodes and it was going to play a key part in the trial. It wa-the plot was esentialy that as bit by bit the defense team, Baltar's defense team kicked the-the legs out from under the prosecution's case as it was presented there came a point where [[Lee]], who at that point was going to be the sole attorney for Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody on the black market and the video tape was going to have on it actually video footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar pulling the trigger and he's killing people. It just had him dead to rights, and that's where this episode whas going to end: with Lee coming into possession of this video tape and deciding what was he going to do? The second part of the episode-the second part of Crossroads was going to deal with the dupe video tape getting into the backstory on New Caprica. The idea was that the Sagittarons had sort of isolated themselves from the rest of the population and there was a famine that struck the food supply and people were in desperate straits. The Sagittarons were refusing to share the food that they had carefully cultivated to themselves. At some point Baltar-and the government sent in the troops and Baltar got involved in the situation that at first looked on the video tape like he was a cold-blooded murder; but as the case went on you discovered that actually; but as the case went on you discovered that actually that he was more-it was more along the lines of the moment in [[w:Lawrence of Arabia (film)| Lawrence of Arabia]] that Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes when we went into prep. The problem was, it just wasn't working because when we read it-[[Michael Rymer]] was probably the first person to put a finger on it- that it was making up a storyline that the audience wasn't invested in. Meanwhile, all the crimes that the audience was interested in with Gaius Baltar weren't being addressed as effectively and the trial wasn't really about anything they could really sink their teeth into. And I tend-and late in the game I realized that he was right. So I took a pass at the script and as I was taking my pass at these two scripts I essentially dumped that plotline completely-And uh-punted and said, "Ok, we're going in a different direction." And I started writing started playing with different storylines and different characters and stripped that out of the entire porcess and it subsequently meant that we had to go back and we had y'know-we had shot those other episodes except for the Dualla episode and that was dumped entirely in favor of the Tyrol episode. We had established the Woman King and a lot of the Sagittaron backstories was in bits and pieces in the other episodes and so we had to go back add it to the reshoot and take that out of the earlier episodes and that's just sort of the cost of doing business when you run a tv show the way I do. Where you sometimes you improvise and you go in directions that you didn't think you were going to. So a lot of these storylines, like this one here with Baltar and his cult followers on teh outside was somehting that developed pretty late in the game. I think this might of been in [[Michael Taylor| Michael Taylor's]] script-I take that back Michael Taylor did ocme up with this notion of

== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

Podcast:Crossroads, Part I

2007-03-20T23:18:08Z

Zarek Rocks: Podcast transcript for Podcast of Crossroads I up to 5:38

{{podcastinpro}}
==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talisker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Rapture| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[The Woman King]] episode originated to introduce the Sagittarons. We had more storylines with them as a sort of sub-group within [[The Twelve Colonies (RDM)| the twelve colonies]]. And how they were sort of the ouitcasts of the bunch the the other colo-tribes sort of take advantage of them. It was included in this intialy drafts of these two episodes and it was going to play a key part in the trial. It wa-the plot was esentialy that as bit by bit the defense team, Baltar's defense team kicked the-the legs out from under the prosecution's case as it was presented there came a point where [[Lee]], who at that point was going to be the sole attorney for Baltar, Lee was going to come into possession of a video tape that was sold to him by somebody on the black market and the video tape was going to have on it actually video footage of Baltar executing colonists on [[New Caprica]]. And it was him, it was there's Baltar pulling the trigger and he's killing people. It just had him dead to rights, and that's where this episode whas going to end: with Lee coming into possession of this video tape and deciding what was he going to do? The second part of the episode-the second part of Crossroads was going to deal with the dupe video tape getting into the backstory on New Caprica. The idea was that the Sagittarons had sort of isolated themselves from the rest of the population and there was a famine that struck the food supply and people were in desperate straits. The Sagittarons were refusing to share the food that they had carefully cultivated to themselves. At some point Baltar-and the government sent in the troops and Baltar got involved in the situation that at first looked on the video tape like he was a cold-blooded murder; but as the case went on you discovered that actually; but as the case went on you discovered that actually that he was more-it was more along the lines of the moment in [[w:Lawrence of Arabia (film)| Lawrence of Arabia]] that Lawrence has to shoot the man to save the larger situation between the two tribes. That storyline was present in these two episodes when we went into prep. The problem was, it just wasn't working because when we read it-[[Michael Rymer]] was probably the first person to put a finger on it- that it was making up a storyline that the audience wasn't invested in. Meanwhile, all the crimes that the audience was interested in with Gaius Baltar weren't being addressed as effectively and the trial wasn't really about anything they could really sink their teeth into.

== Act 1 ==

RDM: Act one. OK. This storyline here of the [[Raptor]] going back to drag the trail, lookin' for the [[Cylons (RDM)|Cylons]], was something that was in early drafts as we started to re- We knew that we wanted to bring the Cylon threat back into the show, here in the last [[Crossroads, Part I|two]] [[Crossroads, Part II|episodes]]. We had been away from it for a while and we stayed away from it deliberately so that we could bring them back in a big way towards the end. And this notion that they had been following along for quite some time and that [[Galactica (RDM)|''Galactica'']] was taking precautions, just in case they were, but- and would leave this trailing Raptor behind to sit and wait and see if the Cylons would show up at their old position, and that this time [[William Adama|Adama]] decides to leave a Raptor for a longer period of time was something that was always in the story from the early get-go.

When I saw the first cut of this episode, which I really liked, I responded very strongly to the first cut of the show, this was how [[Andrew Seklir|Andy]], the editor, and [[Michael Rymer]] chose to open the show. You open straight into the courtroom with the opening statements, which I thought was really interest- an interesting journey. But ultimately because the episodes were also extraordinarily long, they were like ten and, I think, twenty minutes over, respectively, there was a lot of reshuffling that had to be done in the structure, and some things had to go to make room for others, and as a result the teaser reverted back to the way the teaser was actually and structured initially and the opening arguments moved back to the top of act one. There is a significant lift here in her speech. She talks about loss and numbers and how they count up the people that live instead of the people that are dead, because of their particular situation, which I thought was a really intriguing idea that was in [[Michael Taylor|Taylor]]'s script, but initially she wrote the number of the entire [[The Twelve Colonies (RDM)|Twelve Colonies]] up on that whiteboard in the background, which was like fif- I can't remember what the number was. I'll probably get it wrong if I quote it. But I think it was like fifty-one billion, or something. And she had this big number, and then from that there was a series of subtractions of people lost in the [[Fall of the Twelve Colonies|initial attack]] and the people lost down through the years, all the way down to [[New Caprica]]. And it was a chain of reasoning that led her all the way to the crimes of [[Gaius Baltar]], which was very effective, but it just took too long to get there. And in fact, we had to digitally remove the original numbers from the top of that chart, because the old numbers were up there as well, and so we had to go in and ask [[Gary Hutzel]] and- Gary Hutzel and friends, our new variety show, to remove the old numbers from the board. [[Cassidy]], the prosecutor, in the sh- in early script and definitely in the story, was a man, was an older man. A bit of a professor. But as we got close to casting the part we started to feel that we hadn't had another strong female character in the show in a while and we wanted to bring another voice into the courtroom and make the opponent a woman. Which I thought was a good choice.

This beat- you'll notice that [[Laura Roslin|Laura]] is gone from the courtroom there. There was a sequence that was cut where Laura- you saw Laura get up and have to leave the courtroom at a certain point, and she goes into the officer's head by herself, and she's in there splashing water on her face 'cause she's not feeling well, so it was another clue in her storyline, what's going on with Laura. And while she's in there, [[Sharon Agathon|Sharon]] comes out of one of the stalls and they have a moment together where Sharon- in my dra- when I took a pass at it, I had Sharon actually confront her and say something to her, 'cause she had never been in a room with Laura since the dis- since she learned that Laura had stolen [[Hera|her baby]]. And I had her say something like, "Just remember that a Cylon let you walk out of here alive," or something, and then she walked out. And everybody thought that was cr- too much and that Laura- that it was too dangerous, and it was too overt, and so I back- but there was a scene shot where Laura was in the bathroom and she and Sharon just looked at each other. And it was a lovely scene, and it'll probably end up in the deleted scenes on the DVD or on the website, because [[Mary McDonnell|Mary]] did this great thing of leaning her head against the faucet. The coolness of the metal cooling her forehead, and Sharon came out, and they looked at each other just for a moment, and it was meant to evoke the idea that they reco- they had seen each other in the dream sequence, but weren't ready to really verbally acknowledge that to one another.

This opening statement by [[Romo Lampkin]]- a lot of this courtroom stuff, especially here in the early going, is pretty much as Michael Taylor wrote it. I didn't really mess with a lot of this. I made trims and s- minor polishes here and there. But this pretty much all of his work. In the early script, well, in the early story, of course, Lampkin had died in the episode before, and [[Lee Adama|Lee]] was carrying the whole case. And then as we went into subsequent revisions, Lee's role helping Lampkin kept getting smaller and smaller, because the closer we got to actually shooting the show I started feeling that you had- the believability factor became more and more important and focusing on that element more, and felt right that Lampkin is the lawyer, and that Lee's helping him. Lee's not really expected to make arguments, to cross-examine witnesses, to do any of that stuff. He's just the guy at the table helping Lampkin, and that they're only c- eventually you'll get to a place where he had a significant contribution, but not at the beginning.

There's that- there's Laura. She actually coming back from the officer's head, there.

[[Mark Sheppard]] tells me a story that- I don't think Mary liked the fact that he kept- turning on her before she sat down, and she wanted to get all the way down to her seat and Mark, every time she was about to get to her seat he'd whirl around and catch her in it, and it was pissing her off, but it just helped her irritation in the scene a little bit.

You'll notice that we have a lot of spectators in the audience, and there's several of our regulars in the audience that we cut to occasionally. [[Tahmoh Penikett|Tahmoh]] and [[Alessandro Juliani|Alessandro]] are there, sittin' side by side in some shots, and there's [[Tory Foster|Tory]] and Laura. And all these people had to sit in this courtroom, which is a redress of the [[hangar deck]], for hours on end while they shot a courtroom show, and one of the things that the cast almost to a man, and a woman, said afterward, was "Oh my God. Can you imagine having to do a courtroom show every fucking week?" 'Cause you have to sit in these positions for take, after take, after take, and nobody gets to move, and only one person speaking, then somebody else does their lines, and then you do it again. And it drove them just batshit. Tahmoh was talking about how they were trying to keep themselves awake, just to do the coverage, and then they had to do coverage from other angles, and they had to always be sitting in these chairs, and it was like a struggle to just maintain consciousness through vast stretches of the trial.

I really like that overhead shot of the Raptor, pushing down, that Gary put in here. Gary really added a lot of bells, and whistles, and flourishes to all the visual effects sequences here in the finale. I think he and the visual effects team really pride themselves in being able to add in things that surprise the producers when they- when all is said and done. And you get a lot more bang for your buck from those guys.

This storyline, that begins pretty much here, with Laura and the [[chamalla]] and the return of her cancer, this was something I added in my draft. And this came out of a couple of things. One, I was looking for other colors to play in the courtroom, in the trial episode, 'cause I felt that we weren't quite throwing enough surprises. We weren't really pushing the show far enough. We weren't taking enough chances. It was too much trial. We had the stuff going on with some of the other characters hearing things. But there really wasn't enough meat to sink you teeth into. And, secondarily to that, but just as important, was the fact that we had lost track of Laura, I think, over the course of the second half of [[Season 3 (2006-07)|the season]] and Mary and I had talked about that, and Mary was concerned that we had lost track of her character. She didn't seem to be doing too much and what was the next moves for her. I remember that conversation and I was really struck by it, and I was concerned by it, 'cause I agreed with her. I was- we had spent so much time trying to figure out what to do with Lee, and how we were gonna have a trial of Baltar, and the [[Sagittaron]]s, and the search for the [[final five]], etc., etc., that Laura did get lost in the shuffle, and I really didn't like that and I was committed to trying to do something with her strongly in the trial episode. I felt that she shouldn't be a direct participant in the trial, because that didn't make sense and didn't seem right, but I did want to do something with her. So as I was taking my pass through the script I just got to the scene where- I wrote that scene in [[CIC]] and I had the tea come in, and she was- or no. I'm sorry. The tea was a much later thing. She wasn't feeling well and she walked off into the weapons area and then Adama followed over and Lee watched them interact, and there was something in the way Lee watched her and Adama interact that he knew that something was up. And I determined, at that moment, as I was writing the scene, when he was looking up at Laura, and he saw the way that Adama was talking to her and the way that- I think Adama, in the script, put his hand on her arm or something. It was some very intimate gesture of compassion and concern, and it was at the- and it was in that moment I said, "She's got cancer again." And I knew that was a big move, but it felt right, and as I- and I immediately knew that it was gonna be a big turn in the trial and that Lee was going to- was gonna out her for it, and that she was gonna have visions again, and it meant that she was seeing things. It just- all these things just spun out in the moment as I was working on the script, and I knew that I seized on something I really liked. And it was an instinctive moment. It was an improvisational moment. But it tapped into things that I wanted to do in the show. The- when Laura's cancer was cured in the [[Season 2 (2005-06)|second season]], I was never entirely happy with the notion that that was it for that story. That Laura having cancer and being the dying leader taking [[The Fleet (RDM)|the Fleet]] to- taking the- leading humanity towards salvation was always a defining characteristic of her character. It was the way we are introduced to Laura. That she found out that she had terminal breast cancer and it was important to me at the moment that we did it that we had to relieve that pressure. We couldn't- I couldn't sustain her dying forever. It just didn't feel like that was- the show was gonna become about Laura in a hospital bed for the next two years.

I like this beat a lot. Sorry. Just to get back into the scene where we are. This [[Caprica Six|Caprica]]-[[Saul Tigh|Tigh]] scene. I mean, he hits her, and then she hits him back (laughs) so quickly and so well. And this look on- [[Tricia Helfer|Trish]]'s face. That little almost smile. It's just really nice. It's nicely done stuff.

Anyway. Back to Laura. So when we cured her, at that moment, I talked about it with Mary, and we both said that it could come back. That's the end of the act. I'll come back.

Podcast:Crossroads, Part I

2007-03-20T20:01:28Z

Zarek Rocks: Fixing link

Podcast:Crossroads, Part I

2007-03-20T19:59:18Z

Zarek Rocks: Podcast Transcript for Teaser upto 4:05

Podcast:Crossroads, Part I

2007-03-20T04:54:14Z

Zarek Rocks: Fixing another link

==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talasker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Rapture| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[The Woman King]] episode originated. <3:03>

Podcast:Crossroads, Part I

2007-03-20T04:49:13Z

Zarek Rocks: Fixing one link

==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talasker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Raptue| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[The Woman King]] episode originated. <3:03>

Podcast:Crossroads, Part I

2007-03-20T04:41:05Z

Zarek Rocks: Podcast Teaser Transcript up to 3:03 for Crossroads Part I

==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and executive producer of the new Battlestar Galactica and I'm joined here by my lovely wife, the lovely and talented Mrs. Ron. Say, "Hello," Mrs. Ron.

Terry: Hello Mrs. Ron

RDM: And we're here to discuss part one of the season finale, [[Crossroads, Part I| Crossroads Part I]], which we call episode 18 around these parts.

Terry: I'm here again because Ron is now doing these in bed at 11 o'clock at night-

RDM: Yes-

Terry: In a state of exhaustion. And uh-So-

RDM: I hope-

Terry: I'm-I'll probably be pretty quiet too.

RDM: The smoking lamp is again out, but the scoth is Urgegragor 10 from-single malt from the Highlands.

Terry: There has been a question as to what is your favorite Scotch.

RDM: That's a hard question to answer, [[w:Talisker| Talasker]] is one of my favorites. Jeru, that new one I got from that professor at USC. This new one came from [[w:John Hodgman| John Hodgman]] who was here last night.

Terry: Mr. PC.

RDM: Mr. PC from the Apple commercials.

Terry: Ok, let's get into it. This is Crossroads Part I. In case you're wondering, no we did not forget to put the pre-cap on that says, "The Cylons Were Created By Man," etc. etc. Truth is we were pressed for time on these last two and we asked for special dispensation to do away with the pre-cap, as we call it, and also with the main title. So-to give us-in order to give us more time to tell the story and really play this for all it's worth. This sequence back at the opera house which we've seen before, the Kobol Opera house, was a very late edition to the script. I took a pass at the finale fairly late in the process, while we were in prep. I added this section and some other pieces that we'll talk about as they come along.

Terry: This is so spooky.

RDM: It's very spooky. It's very, [[w:Don't Look Now| "Don't Look Now,"]] the [[w:Nicolas Roeg| Nicolas Roeg]] picture in a lot of these shots and very creepy and very effective. I like a lot of this a lot. Originally, we had always known that we wanted to do the trial of Gaius Baltar this season. It had originally was going to take place around episode 12 or 13 after the [[Raptue| escape from the algae planet]]. Then as time went on we started talking about what the season finale was going to be and I started to getting more and more in love with the idea that the finale was going to be the trial of Gaius Baltar. That took a little bit of salesmanship actually with the network. The network was not entirely that we would-that a trial episode was really the best way to end the season. But I was really sold on it and then went back to the writers room and said "Ok, we really have to deliver because they're definitely skeptical this time about our ability to pull this off." So as-so we developed this long art that was going to culminate in this long art that was going to culminate in the trial, that I talked about before. With the [[Sagittaron| Sagittarons]] becoming a problem in the fleet that's where the [[Helo]], [[Woman King]] episode originated. <3:03>

Podcast:Crossroads, Part I

2007-03-20T03:48:40Z

Zarek Rocks: Starting teaser transcript

Podcast:Crossroads, Part I

2007-03-20T03:22:53Z

Zarek Rocks: Creating the page for the podcast transcript of Crossroads I

==Teaser==

RDM: Hello and welcome to the podcast I'nm Ronald D. Moore developer and producer of Battlestar Galactica.

Battlestar Wiki:Podcast Transcripts

2007-03-20T02:37:09Z

Zarek Rocks: Claiming the Teaser of the Podcast Transcript

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====
=====[[Podcast:Crossroads, Part I|Crossroads, Part I]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/319/bsg_ep319_FULL.mp3 Full Podcast]
*Teaser (Transcribed: —. Verified: —.) --Zarek Rocks 21:37, 19 March 2007 (CDT)
*Act 1 (Transcribed: —. Verified: —.)
*Act 2 (Transcribed: —. Verified: —.)
*Act 3 (Transcribed: —. Verified: —.)
*Act 4 (Transcribed: —. Verified: —.)

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 12:11, 16 March 2007 (CDT). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: [[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 10:29, 16 March 2007 (CDT))
*Act 1 (Transcribed: --Zarek Rocks 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --Zarek Rocks 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --Zarek Rocks 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

Lance

2007-03-18T23:15:39Z

Zarek Rocks: Lampkin carries the cat in a bag, not "backpack"

[[Image:Lampkin's cat.jpg|thumb|[[Romo Lampkin]]'s cat jumps on [[Laura Roslin]]'s desk.]]

'''[[Romo Lampkin|Romo Lampkin]]'s cat''' is a domesticated male animal and traveling companion of [[Gaius Baltar|Gaius Baltar's]] attorney, as well as one of the last items Lampkin has of his wife, its original owner.

Lampkin hates the cat, but keeps it in his wife's memory. He typically carries the cat around with him in a bag, telling [[Laura Roslin]] that he does not "bite or scratch" like his wife did. As the cat scrambled out, Lampkin may have used the diversion created by his animal to steal Roslin's glasses.

Later, when boarding [[Sharon Agathon]]'s [[Raptor]], the cat escapes from his bag, jumping out of the Raptor before its door could shut. Chief [[Galen Tyrol]] and his deck gang manage to corral the cat, but not before Tyrol discovers the makeshift bomb on the Raptor's undercarriage, thus thwarting [[Aaron Kelly]]'s plan to kill Lampkin ([[The Son Also Rises]]).

== Notes ==

*As Ron Moore relates in the "[[The Son Also Rises]]" podcast, according to the script, the cat was supposed to ''run'' out of the Raptor, but only walked out relatively slowly. Because it's hard to teach cats how to behave, the film was sped up instead to create the illusion of running.<ref>{{cite_rdm_podcast|episode=The Son Also Rises|act=2|id=cat|timestamp=18:22|totalrunning=46:18}}</ref>

== References ==
<div style="font-size:85%"><references/></div>

[[Category:A to Z]]
[[Category:Animals]]
[[Category:Characters]]
[[Category:Characters (RDM)]]
[[Category:RDM]]

Final Five

2007-03-17T22:54:11Z

Zarek Rocks: fixing a setence missing the word: "be"

[[Image:Final Five.jpg|right|thumb|300px|D'Anna's vision shows five white-robed figures between each banner ([[Rapture]]) '''Note''': This picture is a production still and is in no way indicative of the identities of the Final Five. In the actual episode they are solid white with no discernible features.]]
The term "'''final five'''" collectively describes five of the twelve [[Humanoid Cylon|humanoid Cylon models]] whose identity, knowledge, or existence has been deliberately or accidentally lost to the known existing seven Humanoid Cylon models.

[[Caprica-Six]], when asked by Gaius Baltar about the five missing models he has not seen on the [[Basestar (RDM)|baseship]] he lives on or on [[New Caprica]], curtly replies that the others do not talk about the subject ([[Torn]]).

==The unauthorized quest for the Five==

A [[Number Three]] copy, which [[Gaius Baltar]] calls by her human alias, [[D'Anna Biers]], repeatedly commits suicide to get glimpses of five white-cloaked beings that she believes are images of the final five. She attempts to draw what she has seen, but has difficulty in doing so ([[Hero]]).

One sketch shows what looks like two men and three women. One is a man with dark hair and a widow's peak, one is a middle aged woman with shoulder-length hair, one appears to be a woman with long hair, one appears to be a man with short, possibly thinning light hair and one appears to be a young woman with very short hair. If this interpretation is accurate, that would make six male Cylon models and six female Cylon models in total ([[The Passage]]).

[[Image:FFSketches.jpg|thumb|left|Sketches of the Five.]]
Baltar's ability to see a virtual doppelganger of Caprica-Six (as well as enjoying her company in various pleasant environments) lead him to suggest that he might be using a Cylon technique known as [[projection]]. This suspicion, in turn, makes Baltar begin a personal inquiry into his own nature after allying himself with D'Anna-Three.

The two eventually make their way to the [[algae planet]], where a Colonial structure, the fabled [[Temple of Five]], awaits with possible answers ("[[The Passage]]", "[[The Eye of Jupiter]]"). When the system's dying star goes nova, a ray of light is generated by the mechanisms of the temple. D'Anna steps into the light and suddenly finds herself back in the [[Opera House]] and before the same image of the Five, not persistent. Upon seeing their faces she recognizes one of them in particular, saying in surprise "You... forgive me... I had no idea." She is then pulled back to reality and collapses in Baltar's arms, apparently suffering the effects of a brain hemorrhage. She dies before she can tell Baltar what she saw. She tells Baltar, "You were right," but dies before answering about what. She tells the [[Cavil]] who greets her in the tank that there are five other Cylons, and he will see them some day.

The identity of the person she recognized remains a mystery ([[Rapture]]).

==Interpretations==

While the Re-imagined Series notes that there are a total of twelve humanoid Cylon models, only seven have been seen thus far. Although the Number Threes believe the images they have seen during resurrection and in the Temple of Five are, indeed, images of the final five, the series adds a contradictory interpretations of what is seen and what is truthful.

===Connections between the Colonial gods and Cylon god===

*The Temple of Five was built over 4,000 years prior to the [[Fall of the Twelve Colonies]], long before the Cylons existed. The [[Thirteenth Tribe]] would, logically, have no knowledge of these automatons in the strictest sense. However, the Thirteenth Tribe has significant prophetic insight, as shown in the works of [[Pythia]]. According to Colonial scriptures, "Five pillars of the temple were fashioned after the five priests devoted to the one whose name cannot be spoken". This may have been another Lord of Kobol, given that on a deleted scene [[Elosha]] noted that the fall of [[Kobol]] and its civilization was due in part to a "jealous god".

*On [[New Caprica]], D'Anna/Three meets [[Dodona Selloi]], a human [[oracle]], who relays a message from Three's God, despite the oracle's association with the Lords of Kobol.

*With this information, there is a strong, but unexplained correlation or connection with the the Cylon God and the Lords of Kobol.

===The Eye of Jupiter and Kara Thrace===

*The Eye of Jupiter storyline introduced an association between Kara Thrace, a human that "doodled" a circular image as a child with no prior derivation (her old apartment on [[The Twelve Colonies (RDM)#Caprica|Caprica]] has a painting of the image from the episode, "[[Valley of Darkness]]"), and the mandalas or icons of the eye that decorated a temple built 4,000 years before her birth. No further information is revealed other than the prophesy from [[Leoben Conoy]], who told Thrace of an unexplained "destiny" ([[Flesh and Bone]]).

===Illusion or Truth===

*Only the Threes, and no other characters, have seen the visions of what they interpret as the final five Cylons. Like Baltar's virtual Number Six, this may be something other than genuine; the other Cylons themselves [[boxing|box]] the entire line of Threes after her discovery, but whether this is done to suppress the notion or actual information of the final five or to relieve the other Cylons of an aberrant model is unclear.

*As the Temple of Five was apparently built for human usage, the Temple may have only allowed the transitional visions that the Threes see to be more persistent and clear. It may never be revealed what Baltar (or another human) would have seen. While Baltar believed Three and actively participated in her quest, both his virtual Six and a [[Hybrid]] noted that he, not D'Anna/Three, was intended to use the Temple's imaging mechanism as the "chosen one". The human association and significance of the five priests, the god they worshiped, and their connections with the Cylons, Kara Thrace and Baltar are not yet explained.

==Notes==

* The podcast for "[[Rapture]]" confirms that the final five Cylons have not been [[boxing|boxed]]<ref>{{cite_rdm_podcast|episode=Rapture|act=4|id=firstboxing|timestamp=41:47|totalrunning=}}</ref>.

*{{spoilli|According to an interview Aaron Douglas (Galen Tyrol) gave with GoFy Radio, four of the five Cylons will be revealed in the season finale. The interview can be found in the media section of [http://www.aarondouglasfans.com/Media.html Aaron Douglas's fan page]. <ref>{{cite_web|url=http://www.aarondouglasfans.com/Media/Audio/AaronDouglas_GoFyRadio_January2007.mp3|title=AaronDouglas_GoFyRadio_January2007.mp3|date=January, 2007|accessdate=|last=|first=|format=MP3 Audio|language=English}}</ref> This information has not yet been substantiated.}}
*{{spoilli|[[David Eick]] confirmed in an interview that one of the major characters will be revealed to a Cylon by the end of the third season. He also said that "I think the audience has to start by asking the question, 'What really defines a Cylon?' That's part of what Season 4 is really going to be dedicated to."}}<ref>{{cite_news|first=|last=|url=http://community.tvguide.com/thread.jspa?threadID=800009378|title=Ausiello Report: It's a ''Battlestar Galactica'' Scoopapalooza!|publisher=TV Guide|page=|date=February 20. 2007|accessdate=|language=English}}</ref><ref>{{cite_news|first=|last=|http://www.tvguide.com/News-Views/Columnists/Ask-Ausiello/default.aspx?columndate=21-Feb-2007|title=Ask Ausiello|publisher=TV Guide|page=|date=February 21. 2007|accessdate=|language=English}}</ref>

==References==
<div style="font-size:85%"><references/></div>

[[Category:A to Z]]
[[Category:Cylons]]
[[Category:Cylons (RDM)]]
[[Category:RDM]]

User talk:Zarek Rocks

2007-03-16T15:24:20Z

Zarek Rocks: So say we all

==Internationalization==
As I hope you already know I have been working on translating articles into Japanese. I have noticed that I can translate a lot of these articles into Japanese. I have the vocabulary, what I don't know I can look up, but my grammar isn't there. Is this a project that I should be pursuing if my grammar isn't 100%? I feel like even if I wasn't on completely, I could still save whoever comes (maybe no one) after me. If I had the articles mostly translated they'll have to fix parts of an article rather than translating and writing entire articles. Before I continue on with anything else I wanted to see what my fellow bsg wikipedians think. please respond on my talk page [[User Talk:Zarek Rocks]], I'll be posting this there as well. Thank you all for your advice, it's really appreciated.
:I vote go for it. It seems like half the battle in getting an article done is getting it started. Once the initial hurdle is cleared and the article is named correctly, categorized, and linked to, everything seems to take off from there. My 2 cubits anyway...--[[User:Steelviper|Steelviper]] 21:44, 6 February 2006 (EST)
: Personally, I follow the saying of "Being there is half the battle." Thus, as long as the main content is there, someone with the grammar know-how can always come up behind you and tweak the article. Remember that this is more a community effort -- no one is expecting any one person to shoulder ''all'' the burden. -- [[User:Joe.Beaudoin|Joe Beaudoin]] 22:23, 6 February 2006 (EST)
::Well if the great Joe says I should push forward I'll assume that everyone else is chanting so "So say we all!" Thank you both for your comments. I'm going for it then.

::: So say we all. --[[User:Day|Day]] 23:51, 6 February 2006 (EST)
::::Ditto. The Wiki is filling daily with users who may also have your skills and be happy to help, language nuggets like me armed only with Babelfish notwithstanding. :) --[[User:Spencerian|Spencerian]] 00:01, 7 February 2006 (EST)
:I'm willing to help too and would like to start making character pages (basic info to start) but would like to discuss naming issues with you for things such as episode names, character rank titles and stuff like that. [[User:Yashiko|Yashiko]] 18:56, 8 March 2006 (CST)
:: I'm probably easiest to contact by email at yashiko61@gmail(dot)com. As well, I have put into katakana most of the character names. When I am done that (depending on how long it takes me to finish a couple papers I'll be working on this weekend) I'll start a template and atleast get the character pages started. [[User:Yashiko|Yashiko]] 13:44, 10 March 2006 (CST)

==Japanese==
I have about three years of Japanese under my belt, although my memory is pretty lousy and I never got to any sophisticated grammatical structures (relative clauses and suchlike). Anyway, if you want someone to proofread a passage you're not certain about, leave a message for me on my talk page and I'll see what I can do. --[[User:Peter Farago|Peter Farago]] 02:24, 7 February 2006 (EST)

== Japanese Characters in Firefox ==
On this computer the Japanese characters show up fine in FF, but on my laptop all I get are the ????'s. My Japanese is basically 0, but I'd rather see the characters than the ?'s. Do you have any idea what I'd need to download on my laptop to see the Japanese correctly? --[[User:Steelviper|Steelviper]] 14:45, 10 March 2006 (CST)
*I myself have no experience with FF, so I can't really recommend one download over another. Right now I am using an online dictionary to switch words from romaji/(western alphabet) into Japanese characters. I don't have Word or a Japanese font. That's why I have only done episode data, rather than full episode guides. Sorry I can't be of more help.--Zareck Rocks 14:49, 10 March 2006 (CST)
: I think I found your answer here: http://www.webmasterworld.com/forum21/10192.htm. Hope that helps! -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] 16:14, 10 March 2006 (CST)
**I downloaded a couple of Japanese font packages, I'll need to wait until I get Microsoft Word to see if they'll work, but if they do then I'll be good to go. When this happens I'll be able to write whole articles, much faster. --Zareck Rocks 17:03, 10 March 2006 (CST)
:::We search similarly, Joe. (I ran into that link as well.) Firefox was detecting the encoding ok, but apparently I didn't have a Japanese font intalled. I got one installed, rebooted (stupid Windows), and bingo! Kanji! Or Katakana. (It's all Japanese to me.) --[[User:Steelviper|Steelviper]] 18:22, 10 March 2006 (CST)
::::Actually it's a combo of Hiragana, Katakana, and Kanji. Just thought you might want to know, I liked the joke though! --Zareck Rocks 18:28, 10 March 2006 (CST)

== {{{Death}}} ==
If you want {{{Death}}} to disappear on your user page, just create a spot for it in the template call, but leave it blank. It won't even show up (the same is true for most of the fields in that template). --[[User:Steelviper|Steelviper]] 15:03, 10 March 2006 (CST)
*Thanks I was just looking at that actually

== Welcome Back! ==

Welcome back! Hope all is going well for you – and happy belated birthday! -- [[User:Joe Beaudoin Jr.|Joe Beaudoin]] [[User talk:Joe Beaudoin Jr.|So say we all]] - [[Battlestar Wiki:Site support|Donate]] 20:26, 6 March 2007 (CST)

Thanks a lot Joe, it's great to be back! --Zareck Rocks 23:22, 7 March 2007 (CST)

== Thanks! ==
Thanks for pitching in on the podcast transcription. It's extremely encouraging to know that there's another person working on that. There's only 10 more "acts" (including teasers) to go with Crossroads I and II. It looks like you're pretty close on TSAR Act 4 (maybe a minute or so to go), and I may steal back the Maelstrom teaser so that we'll be "caught up" soon. --[[User:Steelviper|Steelviper]] 07:27, 16 March 2007 (CDT)

Thanks from me too. I've found the time to verify some acts from TSAR, and I think I'll be able to do some actual transcription on Crossroads as well. Having a third transcriber here really helps. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 07:35, 16 March 2007 (CDT)

::It's not a problem. I'm enjoying the work a lot and I'm glad I'm able to provide the little help I can. You can count on me to help for the final two epi's!--Zarek Rocks 10:04, 16 March 2007 (CDT)

Query, arn't their podcasts that have been also waiting for verification for a while? [[BW:POD#Verification_Required]] ? [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 08:23, 16 March 2007 (CDT)
:Quite a few, yeah. Does that mean you're volunteering? ;) If not, I think we'll get to that after Crossroads II, when the pressure of one podcast a week is gone. --[[User:Catrope|Catrope]]([[User talk:Catrope|Talk to me]] or [[Special:Emailuser/Catrope|e-mail me]]) 09:41, 16 March 2007 (CDT)
::At the moment, no. :-) later maybe, but I doubt it. [[User:Shane|Shane]] ([[User_Talk:Shane|T]] - [[Special:Contributions/Shane|C]] - [[Special:Editcount/Shane|E]]) 09:46, 16 March 2007 (CDT)
::Concur with Catrope on the prioritizing. Let's get the new transcribing done first, and then we can use the "offseason" to catch up on the verification and non-episodic podcasts. --[[User:Steelviper|Steelviper]] 10:12, 16 March 2007 (CDT)
:::So say we all. Let's focus on transcribing the podcasts coming out then play catch up in the off season.--Zarek Rocks 10:24, 16 March 2007 (CDT)

Battlestar Wiki:Podcast Transcripts

2007-03-16T15:22:20Z

Zarek Rocks: Teaser for Podcast of TSAR verified

{{project|Podcast Transcripts|image=BSG WIKI Podcast.png|shortcut=BW:POD}}
This project is meant to coordinate and standardize the transcription of [[Ronald D. Moore]]'s freely available episode podcasts. Our goal is to produce a searchable text repository for purposes of citation. At this time, we will only be transcribing freely available podcasts from [http://www.scifi.com/battlestar/downloads/podcast/ SciFi.com], not additonal DVD commentaries. Ron D. Moore and David Eick have recorded commentary tracks for the [[Miniseries]] (also including director Michael Rymer), "[[33]]", "[[Bastille Day]]", "[[Act of Contrition]]", and "[[You Can't Go Home Again]]". However, they have not been put up online for free but are only available in the Season 1 DVD set. Therefore, transcripts of these are not provided here, though relevant quotes may be found sourced in certain articles on Battlestar Wiki.

This project is a daughter of the [[Battlestar Wiki:Citation Jihad|Citation Jihad]].

==Standards==

===Namespace===
Podcast transcripts should be named after the episode to which they correspond with the addition of the (podcast) namespace, for example, [[Podcast:Tigh Me Up, Tigh Me Down]].

===Structure===
Begin each podcast article with the template:
:<nowiki>{{podcast|author=YourNameHere|emailAuthor2=|suffix=|additionalCopyright=}}</nowiki>

Use first-level headings to divide Teaser and Act breaks. Make each heading an offsite link to the appropriate podcast segment, e.g.

==[<nowiki>http://www.scifi.com/battlestar/downloads/podcast/mp3/109/bsg_ep109_1of5.mp3</nowiki> Teaser]==

Try to break up RDM's comments into paragraphs along topical lines.

For those podcasts that are not [[Ronald D. Moore]]'s, please refer to {{tl|podcastother}} for transcribing other podcasts.

===Transcription===
RDM frequently uses "uh", "um" and "y'know" as discourse particles. For readabilities sake, try to exclude these where they interrupt the flow of an otherwise grammatical sentence.

Where RDM interrupts himself, end the last word of the first statement with an emdash. You may include whatever discourse particles he uses to introduce the next thought. For example:

"I think it's a very good movie, one that I always thought was a— y'know, prime for us to do a riff on."

Generally, you may ignore emphasis except where RDM's tone is critical to the interpretation of a statement (e.g. sarcasm).

===Links===
Where RDM mentions a BSG episode or character, link to our own article. Where he mentions a television show or actor which we do not have (or need) our own article for, offer a link to the corresponding page on IMDB. If another resource such as Wikipedia or Memory Alpha has more comprehensive information, you may link there at your discretion. To avoid overlinking, only link once per act break.

Also do not be afraid of adding {{tl|Podcastref}} to a podcast where important information is being said. This is useful for citing information using the {{tl|cite podcast}} template.

===Corrections===
Except for simple spelling errors, do not offer a "correction" without first having listened to the relevant portion of the recording. Always leave a comment on the talk page explaining your change.

===Application===
[http://nch.com.au/scribe/index.html Express Scribe] is a piece of free software (they give it away in the hopes that you buy the tie-in products) that allows you to playback the podcasts with hotkey controls (so you can edit in the ''Battlestar Wiki'' window but still pause/rewind/play), as well as allowing for variable speed playback (so you can transcribe at a slower rate). Express Scribe also remembers where you left off when you open it, allowing you to resume work at the same spot. It is available for Windows and Mac OS X.

==Checkins==
When you begin work on a transcription, place your name beside the segment you are working on. When you've completed and uploaded it, mark your name next to "Transcribed". Afterwards, it would be helpful for a second user to verify the transcription.
=== Podcasts Needing Transcribing===
==== Season 3 podcasts ====

=== Transcription In Progress ===
====Season 3 podcasts====
=====[[Podcast:A Day in the Life Bonus|A Day in the Life Bonus Podcast]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/bonus_edit_session/edit_pod_FULL.mp3 Full Podcast]
*Hour 1 (Transcribed: —. Verified: —.) [[User:Catrope|Catrope]]
*Hour 2 (Transcribed: —. Verified: —.)
*Hour 3 (Transcribed: —. Verified: —.)

=====[[Podcast:Maelstrom|Maelstrom]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/317/bsg_ep317_FULL.mp3 Full Podcast]
*Teaser (Assigned: Spencerian. Transcribed: —. Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 09:59, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 10:46, 7 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:59, 7 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:47, 8 March 2007 (CST). Verified: —.)

==== Misc ====
=====[[Podcast:The Battlestar Roundtable]]=====
* Introduction (Transcribed: —. Verified: —.)
* Hour One (Transcribed: —. Verified: —.)
* Hour Two (Transcribed: —. Verified: —.)
* Hour Three (Transcribed: —. Verified: —.)

=== Verification Required ===

====Season 1 podcasts====
=====[[Podcast:Kobol's Last Gleaming, Part II|Kobol's Last Gleaming, Part II]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_1of5.mp3 Teaser] (Transcribed: [[User:Gougef|FrankieG]] 17:41, 16 August 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 10:33, 17 August 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 13:12, 17 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 13:11, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 18:14, 20 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/113/bsg_ep113_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 10:34, 17 November 2006 (CST). Verified: —.)

====Season 2 podcasts====

===== [[Podcast:Valley of Darkness|Valley of Darkness]]=====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_1of5.mp3 Teaser] (Transcribed: [[User:Peter Farago|Peter Farago]] 17:42, 28 September 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 06:31, 29 September 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_2of5.mp3 Act 1] (Transcribed: [[User:Peter Farago|Peter Farago]] 19:21, 9 October 2006 (CDT). Verified: [[User:Steelviper|Steelviper]] 13:33, 11 October 2006 (CDT).)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 14:58, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:34, 21 November 2006 (CST). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/202/bsg_ep202_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 09:40, 21 November 2006 (CST). Verified: —.)

===== [[Podcast:Resistance|Resistance]] =====
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser] (Transcribed: [[User:Steelviper|Steelviper]] 11:06, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_2of5.mp3 Act 1] (Transcribed: [[User:Steelviper|Steelviper]] 15:18, 12 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_3of5.mp3 Act 2] (Transcribed: [[User:Steelviper|Steelviper]] 08:39, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] (Transcribed: [[User:Steelviper|Steelviper]] 12:08, 13 October 2006 (CDT). Verified: —.)
*[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_5of5.mp3 Act 4] (Transcribed: [[User:Steelviper|Steelviper]] 14:34, 13 October 2006 (CDT). Verified: —.)

====Season 3 podcasts====
=====[[Podcast:A Day in the Life|A Day in the Life]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/315/bsg_ep315_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:18, 27 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 14:40, 3 March 2007 (CST).)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 13:44, 28 February 2007 (CST). Verified: [[User:PrePressChris|PrePressChris]] 13:05, 4 March 2007 (CST).)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 13:05, 1 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:47, 1 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:12, 2 March 2007 (CST). Verified: —.)

=====[[Podcast:Dirty Hands|Dirty Hands]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/316/bsg_ep316_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 11:42, 2 March 2007 (CST). Verified: —.)
*Act 1 (Transcribed: [[User:Steelviper|Steelviper]] 15:38, 2 March 2007 (CST). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 08:01, 6 March 2007 (CST). Verified: —.)
*Act 4 (Transcribed: [[User:Steelviper|Steelviper]] 09:58, 6 March 2007 (CST). Verified: —.)

=====[[Podcast:The Son Also Rises|The Son Also Rises]]=====
[http://media.scifi.com/battlestar/downloads/podcast/mp3/318/bsg_ep318_FULL.mp3 Full Podcast]
*Teaser (Transcribed: [[User:Steelviper|Steelviper]] 15:08, 12 March 2007 (CDT). Verified: --Zarek Rocks 10:22, 16 March 2007 (CDT).)
*Act 1 (Transcribed: --Zarek Rocks 12:24, 13 March 2007 (CDT). Verified: —.)
*Act 2 (Transcribed: [[User:Steelviper|Steelviper]] 09:22, 14 March 2007 (CDT). Verified: --Zarek Rocks 23:25, 14 March 2007 (CDT).)
*Act 3 (Transcribed: [[User:Steelviper|Steelviper]] 14:49, 15 March 2007 (CDT). Verified: —.)
*Act 4 (Transcribed: --Zarek Rocks 22:29, 15 March 2007 (CDT). Verified: [[User:Catrope|Catrope]] 08:19, 16 March 2007 (CDT).)

=== Transcription Complete ===
====Season 1 podcasts====
*[[Podcast:Tigh Me Up, Tigh Me Down|Tigh Me Up, Tigh Me Down]]
*[[Podcast:The Hand of God|The Hand of God]]
*[[Podcast:Colonial Day|Colonial Day]]
*[[Podcast:Kobol's Last Gleaming, Part I|Kobol's Last Gleaming, Part I]]
====Season 2 podcasts====
*[[Podcast:Scattered|Scattered]]
*[[Podcast:The Farm|The Farm]]
*[[Podcast:Home, Part I|Home, Part I]]
*[[Podcast:Home, Part II|Home, Part II]]
*[[Podcast:Flight of the Phoenix|Flight of the Phoenix]]
*[[Podcast:Pegasus|Pegasus]]
*[[Podcast:Resurrection Ship, Part I|Resurrection Ship, Part I]]
*[[Podcast:Resurrection Ship, Part II|Resurrection Ship, Part II]]
*[[Podcast:Epiphanies|Epiphanies]]
*[[Podcast:Black Market|Black Market]]
*[[Podcast:Scar|Scar]]
*[[Podcast:Sacrifice|Sacrifice]]
*[[Podcast:The Captain's Hand|The Captain's Hand]]
*[[Podcast:Final Cut|Final Cut]]
*[[Podcast:Downloaded|Downloaded]]
*[[Podcast:Lay Down Your Burdens, Part I|Lay Down Your Burdens, Part I]]
*[[Podcast:Lay Down Your Burdens, Part II|Lay Down Your Burdens, Part II]]
====Season 3 podcasts====
*[[Podcast:Occupation|Occupation]]
*[[Podcast:Precipice|Precipice]]
*[[Podcast:Exodus, Part I|Exodus, Part I]]
*[[Podcast:Exodus, Part II|Exodus, Part II]]
*[[Podcast:Collaborators|Collaborators]]
*[[Podcast:Torn|Torn]]
*[[Podcast:A Measure of Salvation|A Measure of Salvation]]
*[[Podcast:Hero|Hero]]
*[[Podcast:Unfinished Business|Unfinished Business]]
*[[Podcast:The Passage|The Passage]]
*[[Podcast:The Eye of Jupiter|The Eye of Jupiter]]
*[[Podcast:Rapture|Rapture]]
*[[Podcast:Taking a Break From All Your Worries|Taking a Break From All Your Worries]]
*[[Podcast:The Woman King|The Woman King]]

==Disputes==
Members of Battlestar Wiki with experience in acoustic phonetics are listed below. They may be able to help with pronunciation issues.

*[[User:Peter Farago|Peter Farago]]

[[Category: Podcasts]]

User:Zarek Rocks

2007-03-16T15:09:08Z

Zarek Rocks: forgot one thing for my user page

{{Character Data|
|photo=
|age=19
|colony=Southern California, I'd prefer [[The Twelve Colonies (RDM)|Sagittaron]].
|birthname=Michael Silk
|callsign=Atlas
|death=
|parents=2
|siblings=3
|children=0
|marital status=Single
|role=Scribe
|rank=Colonial Revolutionary and Freedom Fighter
|actor=Himself
|cylon=Y
|name=
}}
User Zarek Rocks' real name is Michael Silk, lover of all things Battlestar Galactica and a fan of Thomas Zarek, freedom fighter and prisoner of conscious.
I am 19. I'm a Catholic Benedictine Monk at [http://www.princeofpeaceabbey.org/ Prince of Peace Abbey], I will be entering the Novitiate on March 19th the Solemnity of St. Joseph. My interests include SciFi, especially Battlestar Galactica, obviously. My other interests include playing my clarinet, listening to good music, and watching good movies. I speak English, a little Japanese, and very little Tagalog. Little else would be of interest to anybody so I will not bore you with other insignificant facts about my personal life.

== Current Objectives ==
*I will continue to try to [[Battlestar Wiki:Translation Project|translate]] articles into Japanese.
AIM:Atlas Zarek
*In the little free time I get(the monastic schedule is fairly rigorous)I will be transcribing [[Battlestar Wiki:Podcast Transcripts| Podcasts]] as much as possible.

[[Category:Wikipedians|Zarek Rocks]]

User:Zarek Rocks

2007-03-16T15:08:15Z

Zarek Rocks: updating user page

{{Character Data|
|photo=
|age=19
|colony=Southern California, I'd prefer [[The Twelve Colonies (RDM)|Sagittaron]].
|birthname=Michael Silk
|callsign=Atlas
|death=
|parents=2
|siblings=3
|children=0
|marital status=Single
|role=Translator
|rank=Colonial Revolutionary and Freedom Fighter
|actor=Himself
|cylon=Y
|name=
}}
User Zarek Rocks' real name is Michael Silk, lover of all things Battlestar Galactica and a fan of Thomas Zarek, freedom fighter and prisoner of conscious.
I am 19. I'm a Catholic Benedictine Monk at [http://www.princeofpeaceabbey.org/ Prince of Peace Abbey], I will be entering the Novitiate on March 19th the Solemnity of St. Joseph. My interests include SciFi, especially Battlestar Galactica, obviously. My other interests include playing my clarinet, listening to good music, and watching good movies. I speak English, a little Japanese, and very little Tagalog. Little else would be of interest to anybody so I will not bore you with other insignificant facts about my personal life.

== Current Objectives ==
*I will continue to try to [[Battlestar Wiki:Translation Project|translate]] articles into Japanese.
AIM:Atlas Zarek
*In the little free time I get(the monastic schedule is fairly rigorous)I will be transcribing [[Battlestar Wiki:Podcast Transcripts| Podcasts]] as much as possible.

[[Category:Wikipedians|Zarek Rocks]]

User talk:Zarek Rocks

2007-03-16T15:04:28Z

Zarek Rocks: You're Very Welcome

Podcast:The Son Also Rises

2007-03-16T05:08:28Z

Zarek Rocks: /* Act 4 to 43:23

{{podcastinpro}}
== Teaser ==
RDM: Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we call episode seventeen, "[[The Son Also Rises]]". I am joined here in my lovely home by my equally lovely wife, [[Terry Dresbach|Mrs. Ron]]-

Terry: Love her or hate her.

RDM: Love her, or hate her.

Terry: (Chuckles.)

RDM: Just- but don't call her ditzy. Mrs. Ron- Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron. I'm gonna be very intellectual this time, I'm sure.

RDM: Yes. There are various dogs and cats wandering the room, randomly. The Scotch tonight is Highland Twentyfive, a very nice bottle of Scotch my wife lovely gave me.

Terry: For Valentine's Day.

RDM: For Valentine's Day. The smoking lamp is, unfortunately, out. Mrs. Ron-

Terry: Sorry.

RDM: Mrs. Ron doesn't join us when the smoking lamp is on- is lit.

OK. "Son Also Rises". This is the beginning of the finale, really. We snuck this in as a making the finale of [[Season 3 (2006-07)|the season]] a bit of a three parter, even though we never really said officially to the network that we were making a three parter. But it kinda is a three parter when all is said and done. And this is the first piece of it. As we approach the trial of [[Gaius Baltar]], we knew that a couple of the things that we were pretty determined to do was to somehow bring one or more of our cast members into the courtroom, as participants. We knew that that was gonna be difficult and we came up with various and sundry ideas for how to legitimize the idea of some of our people being participants in the trial. And this was where we ultimately ended up. Initially, we had talked about [[Lee Adama|Lee]] being the sole attorney for Baltar, and finding a way to justify that.

Terry: But that seemed a stretch?

RDM: That seemed too much of a stretch. We just couldn't really get there. But we also knew that as a practical matter, to do a TV series like this, to get to a place where we're gonna do a trial episode, in a series that's not setup to do a trial episode, it seemed wrong to have all the players in the courtroom. Players being the lawyers on either side and the judges, have them all be guest stars, 'cause none of your major characters would be utilized very well, and the drama would essentially- you'd be constantly pulling away from the trial to go service the other characters and find other things for them to do, where the meat of this story is really what's happening in the courtroom. So, we bit the bullet and said, "OK. There's gotta be a way to get Lee into that courtroom in a plausible scenario." And this was the scenario that we came up with, which is to start off as a guy doing security for [[Romo Lampkin|Lampkin]], and ultimately have him aid in Lampkin's defense. It also raised the question of how do we get anyone else. We all quickly loved the idea of having [[William Adama|Adama]] be one of the judges, or be a judge. In the course- at first he was gonna be THE judge, and then we altered that and decided that'd he'd be one of several judges in the courtroom.

Terry: So, there's an excellent thread on [http://forums.scifi.com/index.php?showforum=24 the Scifi board] right now, written by a bunch of lawyers. And one of the points they made, though, is, "Why wouldn't Adama have to recuse himself as somebody who was extremely involved in this case."

RDM: We...-

Terry: How do you get around that?

RDM: We did grapple with that. We talked about it at length, and we decided that what we were- that ultimately, there really weren't anybody in [[The Fleet (RDM)|the entire Fleet]] who could legitimately say they weren't involved in the case.

Terry: Yeah, but I mean he's very directly involved.

RDM: He's very directly involved, and it's a push, and we all admit that right off the bat. It's a push. All this- we wanted to get more drama into the show, so what we did was we came up with the lottery that you're watching in these intercuts. The lottery of drawing the names of the ship captains to be the judges. There wouldn't be a jury. There'd be a tribunal of judges and that they would be chosen randomly, and Adama's name was in the hat, and it came up, and he was chosen. And that it would be chosen in that method. We also talked about the idea that the system of justice that had been prevailing in the Fleet up to this point, such as it was, was probably administered by each ship captain as that ship captain saw fit, so that the captains of the various vessels in the Rag Tag Fleet had been dispensing justice on their ship for several years now, so they were the most- they seemed the most logical people to be the judges in the tribunal because they were already dealing with the administration of justice all along.

Terry: So the legal system, such it may have been, before everything that has gone on, may not necessarily be what they're pulling from in this case.

RDM: Yeah. I mean, we have always proceeded on the assumption that the legal system is a very fragile thing, in the ''Galactica'' universe. That there probably precious few lawyers. That there's really no police force. There's no real force, other than Adama's military.

Terry: So you keep the gist of the law, but not the letter.

RDM: You keep the gist of the law, but they don't, probably- we've said they don't really have a law library. They don't have much more than the law books that Adama kept from his father and passed onto Lee in a previous episode.

Terry: Right.

RDM: So the idea was that each ship probably administered its own justice, and ran their ship accordingly. Just in the tradition of the captain of the ship being the ultimate arbiter of what was legal and what was not. And that there's some kind of balance, 'cause obviously [[Laura Roslin|Laura]] does exert authority in the Fleet and has, on occasion, issued presidential directives. The "no abortions directive" being one of the examples. The [[Quorum of Twelve (RDM)|Quorum]] has authority. I think there's a lot of flexibility and a lot of gray areas in terms of what the legal authority is in the Fleet. But in any case we decided that- pull a set of judges from the ship captains, Adama's one of them. He gets pulled in. Yeah, you could argue that he should recuse himself, but at the same time, we just decided to brush off that and keep going. 'Cause the drama was more important to us at this stage of the game. Then we started- in all versions of this story, we always had this thing about [[Alan Hughes|Baltar's lawyer]]s being assassinated, and killed, and under threat. And this is- this was clearly influenced by the experience of some of the defense team of [[w:Saddam Hussein|Saddam Hussein]]. When Saddam Hussein was on trial, various members of his defense team, and members of the prosecution, and members of the judiciary, were all coming under attack in Iraq, for various- by various factions with various motives, and we wanted to play this in that same tenor.

I think this section- I'm always struck by how much [[Tyler McClendon|the actor]] playing Baltar's lawyer there looks like [[w:John Cusack|John Cusack]]. But he's not.

This sequence was always pretty much in even the early preliminary drafts of the show. I think the major changes had to do with what Lee's story were- was, in this episode. In the original story document, it was much more about- a Lee-centric story about Lee going in and interrogating [[Caprica Six]] and he was going in to talk to Caprica Six to get evidence, to see what she was willing to testify to. Could she testify? Lee was the guy that Laura had appointed to put the legal system together, and we were playing with the idea that as- in part of- part of that job is Lee determining whether Caprica Six could be a witness at trial, which went to the heart of, "Is Caprica Six a person?" If Caprica Six is a person, then her testimony would be accepted. If she's a machine then they could not take her testimony.

That's the end of the tease.

Terry: [[Mark Sheppard]].


==Act 1==

RDM: Act 1-We in [[Lee Adama|Lee]]'s pursuit of [[Caprica-Six]] it was going to be actually a lot of him going into the interrogation room one on one with Caprica Six; talking to her trying to determine whether or not, which is very controversial in the ''Galactica'' world, once they decide that [[Cylons (RDM)|Cylons]] are people it had other implications on how they should be treated and what their legal rights etc etc. Which is also complicated by the fact that [[William Adama|Adama]] had designated [[Sharon Agathon|Sharon]] as a person since he gave her the Colonial uniform. It also went to the heart of the backstory between Caprica-Six and [[Gaius Baltar|Baltar]], she was going to give up the fact that he participated in the [[Fall of the Twelve Colonies|destruction of the colonies]], that was going to be a major piece of testimony that she may or may not give. We shied away from that storyline ultimately because it felt claustrophobic on the one hand. It also felt like the issues were not as relevant as the trial itself, that it was a lot of him digging for backstory from Caprica-Six that the audience already knew. They already knew what Baltar had done and not done. That wasn't really what was most interesting in the show. So we opted to go with this other route that dealt with the aftermath of [[Kara Thrace|Kara]]'s death on Lee and Adama. Watch [[Romo Lampkin]] and how he handled the case.

I liked this sequence a lot, his is where Lee is dealing with the pilots and Lee is not really himself. I didn't comment on the other scene earlier in the tease, when we see [[Samuel Anders|Anders]] drunk and beside himself on the Viper and he falls off and breaks his leg. In the early draft of this show we had actually opened with Lee and Anders both going to the memorial wall putting the picture up on the wall as Lee had promised. In the midst of that a fight broke out between the two men, that their anger and emotions of the traumatic event; they vented on each other and it turned into a real brawl. We decided not to do that because it seemed too expected to have them fight and it just didn't seem to like it gave you any real juice in the show. It just didn't seem like it gave you any real juice to the show. It seemed much more interesting to play them in sympathy with one another. That after Kara had died their rivalry was gone the reason for their rivalry was gone and that the two men would have to gravitate towards one another if anything in their mutual mourning.

This is the introduction to Romo Lampkin who was initially, in early conversations, slotted to be a one-episode role. He was going to be in this episode, get Lee going on the trial and die at the end and have Lee take over. That was when we decided that was too much of a stretch, so we opted to keep him alive. So [[Mark Sheppard]], who plays Romo Lampkin got a three episode deal out of this.

Terry: The wonderful Mark Sheppard.

RDM: The wonderful Mark Sheppard who's a friend of ours. This scene originally opened with a long speech of Lampkin's. It was shot, it opened about a speech about fear and what fear does to people, the fear of Baltar, the fear of being Baltar's lawyer etc., what it was doing to people. I opted to cut it because it just seemed like the wrong intro, it was much more interesting to open with a guy in sunglasses not saying anything.

The [[Lampkin's cat|cat]], a cat makes its entrance into ''Galactica'' for the first time.

Terry: It looks an awful lot like our cat.

RDM: It looks a bit like one of our cats. If I had known, truth to tell, about the online fascination slash obsession with "Jake the Dog" I would've opted to make Romo Lampkin Jake the Dog's owner—

Terry: Oh, I know.

RDM: —and use the dog for the whole sequence. 'Cause the whole gag is the pet is the.

Terry: This was shot before that?

RDM: Yeah.

Terry: I'm sorry everyone.

RDM: The gag is that it's the from his dead wife. He keeps her around out of respect of her memory, but he hates the cat, which I like. That he just can't stand the cat, puts her in a bag and carries her around everywhere he goes. [[Robert Young]], who directed this, however, hated the cat, begged me to cut the cat.

Terry: Never shoot with a cat.

RDM: Never shoot with a cat, never shoot with animals.

Terry: Well, dogs at least you can train.

RDM: Yeah, you can train dogs. I remember when I was working on [[w:Star Trek|Star Trek]], [[w:Data (Star Trek)|Data]] had a cat. There used to be five cats, and each cat did exactly one trick: the cat that would jump in Data's lap, the cat that'd lie down, the cat that would eat the food, the cat that would lie down. You had to have all 5 cats on the stage.

Terry: You were lucky you had the budget. I did a movie, we only had a budget for one cat. So it was 8 hours waiting for a cat to walk across the room.
It was a nightmare, how many cats did you have on this?

RDM: I don't remember 'cause the cat doesn't have to do very much. I think it was just one cat.

Terry: It's in the bag.

RDM: It had put in the bag, it has one task. It has to run out of the [[Raptor]] later on and it doesn't run, you'll see see it kind of loped, it kind of saunters out of the Raptor.

This scene with Romo, the relationship between Romo and Lee is a really interesting one and the character of Lampkin himself is really something that is crafted by [[Michael Angeli]], who wrote this episode. I did not take a pass at this episode, this is Angeli's work. He has a very interesting and distinctive voice when he writes, Michael, in how he writes characters and what he brings to the party. Romo Lampkin was such a fully realized, interesting creation from the very first, from the first draft. Which we made substantial changes to along the way because all these shows
get changed a lot. The one thing that didn't change was Romo. Romo was just always interesting and different and there was just something fun and fascinating about this man and he stood in contrast to sort of most of our other characters.

Terry: You know that's one of the things I would say about him. He's so different from anyone we've really seen on this show before.

RDM: I would like to know what Romo's been doing out there in the fleet, I'd like to sort of backtrack and see what he's been doing. I'm sure it was right on the line between legality and ethics. It's an interesting character and I think Mark's a great choice.

Terry: I'm going to be very interested to see what the lawyers have to say.

RDM: We spent an awful lot of time dealing with the legalisms on this show.

Terry: Did you?

RDM: Yeah.

Terry: Did you know there's an awful lot of scrutiny about, "Is this going to be [[w:Law and Order|Law and Order]] in space?" And a lot of people are concerned about it.

RDM: You know, that's a high standard, truth is that's a high standard.

Terry: I love Law and Order

RDM: Law and Order's one of the best legal shows in TV. That's the end of the act.

== Act 2 ==

RDM: One of the things we did is we discussed the law and how this would all work, was we were always aware of what the truth was. How the American legal system would work. And then we would bend that to fit the [[Battlestar Galactica (RDM)|''Galactica'' universe]], and say, "OK. We have some free play, 'cause it isn't America. We can change some of the parameters." But we wanted- we always wanted the trial and the surroundings of the trial to feel familiar enough to the audience, who's- has been watching legal shows since [[w:Perry Mason|''Perry Mason'']]-

Terry: Right.

RDM: -and understands the basic conventions, the [[w:Right to counsel|right to counsel]], how testimony is given, objections, overrulings. All those things, the audience has a fluid memory of and can follow along and we wanted to keep it in that groove, but give ourselves enough flexibility, like every legal show does. I mean, truth to tell, ''Perry Mason''-

Terry: Right.

RDM: -bends the rules quite a bit, too. And we certainly bend some rules in our portrayal-

Terry: Well, you have to, 'cause if you ever sit in a real courtroom it's dull as-

RDM: -dull as dishwater.

Terry: Yeah.

RDM: But at the same time, when the characters- when they take actions that step- that break those rules, we generally have them acknowledge it, and say, "This isn't permitted," and then you move on and justify it in some fashion, so it- so you don't gloss over it. I love this- the way that [[James Callis|James]] play- is playing the character of [[Gaius Baltar|Baltar]] here. He's really taken the idea of the manifesto and the prisoner writing his political manifesto from jail and running with it.

Terry: Baltar reinvents himself, one more time.

RDM: Yeah, he reinvents himself one more time. The obsession with, "Gimme a piece of paper." The thought that has to be written down right now.

Terry: Baltar becomes [[w:Che Guevara|Che]].

RDM: Baltar as Che. Exactly.

Terry: (Laughs.)

RDM: And he really plays it, and James sells it, and- it's a really interesting transformation of the character.

Terry: What I like about it, and what I think is really the beauty of how James plays pretty much everything is that you really get the sense that whatever persona Baltar has adopted, this time, he believes it.

RDM: Oh, yeah.

Terry: He believes it thoroughly and completely himself.

RDM: He's sold, yeah.

Terry: "Well, I'm a political prisoner."

RDM: Yeah. "Of course I am." And yet his first concern being about [[Caprica Six]], knowing what she knows, and that she can sink him. And wondering what's gonna happen on that angle.

Talked a lot about the sunglasses. The sunglasses came up quite a bit. Again, an invention of [[Michael Angeli]] of [[Romo Lampkin|Lampkin]] wearin' the sunglasses until a key point in the script and then taking them off and putting them back on, and so on. It was right- hovers right on the edge of it- of being an artifice and I- even [[Mark Sheppard|Mark]], I think, voiced concern, and the direc- they were all wondering, "Are you sure you wanna do the sunglasses thing?" But I believed in it, and I believed in what Angeli was trying to do, and said, "Yeah. No, let's do it. Let's keep it." And I think it works. I think it's really effective and interesting, and I don't think it crosses the line into parody. I think it's an interesting way for this character to relate to everybody, 'cause he's essentially putting it in their face that he's walking around wearing dark sunglasses. And also I work with people who wore dark sunglasses in rooms.

Terry: I have too.

RDM: [[MemoryAlpha:Ira Steven Behr|Ira Behr]], who was my mentor.

Terry: Ira wore them?

RDM: Ira- not sunglasses, they were prescription glasses, but they were dark.

Terry: Ohhh.

RDM: And sometimes mirrored. And Ira used to enjoy- he just liked wearing dark sun- dark glasses in meetings and rooms, and it-

Terry: That's pretty funny.

RDM: It was really fun and interesting. And he did it all the time, and got away with it. And you're surprised how many people never comment on it. Ira would walk into a meeting at night with mirrored sunglasses on in writers' room, or sometimes with actors that he's never met, and nobody'll say a word. (Chuckles.) They never even questioned it. It was just an interesting little bit of psychology.

I like the way that Angeli's got Romo playing [[Lee Adama|Lee]]. Understanding where his buttons are, pushing them deliberately, getting a reaction, then cutting to the heart of the matter. It's a really interesting dynamic. It's a nicely written bit of business between the two.

Now here is, I believe, the [[Lampkin's cat|cat]]'s finest hour. {{podcastref|cat|18:22}}The cat is supposed to run out of the [[Raptor]]. That's what it says in the script and if the fucking cat had read the script, it would have run out of the Raptor. But of course it doesn't. So what it does, is it saunters out.

Terry: -saunters-

RDM: So we have to resort to one of the oooo-

Terry: -It's a cat.-

RDM: -oldest tricks in the book. We speed up the film.

Terry: Oh, you're kidding.

RDM: No, I wish I was kidding. I wish I- I wish I had the budget to make a CGI cat run out of the goddamn Raptor.

Terry: Oh my God.

RDM: But you'll see, we're gonna speed up the film here.

Terry: You know, they make cartoons, and it's a common joke about cats. Cats don't do what you tell them to.

RDM: Watch. It's comin' up- the shots comin' up right here. You see the bomb, cut into the cockpit, then as the door is closing... right here. I think we're getting there. Right there. Ohhh.

Terry: Oh, you're kidding me.

RDM: (Laughs.) It's a little bit of [[w:Land of the Lost (1974 TV series)|''Land of the Lost'']] if you get right down to it, but you know what? Sometimes you gotta do what you gotta do. (Laughs.) And so the cat zooms out. [[Robert Young|Bob Young]] hated this. He hated the fact that the cat had- the cat-

Terry: Now it's running.

RDM: -is responsible. Yeah, now it's running. 'Cause I think they're throwing things at it on the set.

Terry: (Laughs.)

RDM: But Bob really didn't like the fact that we found the-

Terry: The [[w:Society for the Prevention of Cruelty to Animals|SPCA]] was involved in the making of this-

RDM: Found the bomb through the cat, and I had to really talk him into it. I like it. I think it's just a bit of serendipity and luck and all those kind of random things. That the Raptor was supposed to have been swept for bombs, so how the hell could that have happened, and it's clearly an inside job, and all that being said.

Watch [[Edward James Olmos|Eddie]] in this episode. Eddie- this is some of his most emotional stuff. He really is teeing off on his- on Lee in these scenes. And his emotions are very raw. I mean, since the open of the episode, when he's sitting there putting [[Kara Thrace|Kara]]'s- looking at Kara's picture and going through her service folder. The tears in the eyes and the emotion that he's- that Adama's feeling is all genuine. It's all really- I think Eddie is truly in mourning.

Terry: -It's really nice to see Eddie being able to do this, because so many of his roles, I think, call for him to be so stoic and noble, and this is gotta lis- gotta lot of flesh to it.

RDM: This is a raw wound.

Terry: It really- is.

RDM: I mean, he's really lost his daughter.

Terry: And you get to see it.

RDM: It's very painful, and I think it's genuine, because I think Eddie really felt [[Katee Sackhoff|Katee]]'s loss.

Terry: Yeah.

RDM: Katee's loss on the set, and it was affecting the cast and the crew at this point. And a lot of this emotion on both their parts is just genuine.

Terry: Well, and Eddie's dad on and off the show. I mean-

RDM: Yeah. He's the father, off and on the show.

Terry: Can you get the little-

RDM: Look at that. When he says this thing about, "You think your loss is deeper? You think you feel it-"

Terry: Ohh.

(Adama's dialogue is audible.)

RDM: It's great. It's great stuff. It's just so powerful. And knowing where this goes, it's even more powerful.

That's the end of the act.

== Act 3 ==

RDM: Top of the act. The plot of who ki- who's the bomber? Who's the mad bomber on [[Galactica (RDM)|''Galactica'']], interestingly enough, in the first draft, and in a lot of the drafts, actually, until we- until very far into prep, and maybe into shooting, we were gonna have the identity of the bomber- we weren't gonna reveal them on this episode. The end of the show was gonna be the bomber still with his hands- only identified by his bomb-making apparatus, and not know who he was, and keep him alive as a threat, and we were gonna keep him alive through the actual trial, and what was he gonna do? And it- became a problem because it's the old [[w:Alfred Hitchcock|Hitchcock]] thing, if you put a- if you show a gun, [[w:Chekhov's gun|you gotta use it by the end of the movie]], and to have this guy around and keep him as a threat and not have a bomb go off in the courtroom in the finale just became a problem, and I didn't want a bomb to go off in the courtroom at the end. It just felt like it was gilling it a bit. So we talked about revealing him as, what's his face? God, I hate it when I forget the characters' names. As [[Aaron Kelly|Kelly]]. As Captain Kelly. Revealing it as Kelly but not having Kelly hauled away, and then that just felt like it was the same thing. You still had the bomber on the loose, even though we were gonna have him put his bombmaking materials away, etc, as if he was done. But then we decide, you gotta resolve it. You gotta like have the guy found.

Now this is interesting, because this is- a question of when you cut to certain pieces. This piece, I advocated, of [[Gaius Baltar|Baltar]] looking for his pen, I opted to put before the scene with [[Caprica Six]]. Which tel- where it- in this placement, you're not sure what he's doing. What's he looking for? He's looking for something he's lost. And he's trying to fi- what have I lost? And you might surmise that it's a pen, but you might not. You're just puzzled over what's going on. And then in the next sequence, when you get into the scene with Caprica Six, or not the very next sequence, sorry, when you get to the Caprica Six interrogation scene, and Baltar- and [[Romo Lampkin|Lampkin]] gives her the pen and says that Baltar sent it, that it was a deliberative missive, you start to p- if you're a smart audience member, and I think our audience is quite smart, you might put it together and say, "Oh shit! He took it from Baltar. He didn't- Baltar didn't give him the pen. He's- he took it from the guy." In the original cut, and in the directors cut, that scene took place later. It was- you saw the scene with Lampkin and Caprica Six gives him the- he gives her the pen, and then after that you cut to Baltar looking for the pen, which also tells you that it was a lie, and that it was stolen, but it's after the fact, and it's just a question of where you want the emphasis to be with the audience. When do you want them to think about that. I thought it was interesting to have this ambiguous scene of Baltar looking for something, and not know what he's looking for, and not quite even understand where that falls into the drama, and that when you got into this scene with Caprica Six and Baltar- Caprica Six and Lampkin, that at that moment you might put it together and you might, in the middle of the scene, have a realization that Bal- that Lampkin is actually pulling a fast one on Caprica Six and that it's an added layer that the audience can discover, if they choose to discover- if they choose to think about it. If you go the other way, if you put that scene after the scene with Caprica Six, they don't really have a way of doing that, and essentially they believe what Lampkin is saying, and then after they go, "Ohhhh. It was all a ruse." But by placing it before the scene, it's you giving them an opportunity to figure it out, and to have the discovery mid-scene and to have a couple of things going on at the same time. Anyway, that's an elaborate explanation for and editing choice, but that's what we did and why.

I'm very fond of this scene in this show. I love everyone's performance here. I think [[Tricia Helfer|Trish]] is playing it beautifully. I think [[Mark Sheppard|Mark]] is doing great. I like [[Laura Roslin|Laura]], [[Lee Adama|Lee]]- I mean, this is- one of those scenes that you look back on, after the show is over, after [[Battlestar Galactica (RDM)|the series]] is over, and you'll say, "Wow. What an amazing ensemble we have," because there's so much going on here, and so much of it is in subtext and the actors are all just really inside their characters and inside this scene and there's many competing agendas, and there's lots of different motivations and moments and I think the way Bob shot this is wonderful. I like the pace of this scene. I had to fight to preserve the pace of this scene, 'cause it's- it verges on the slow. And there are those who thought it was like watching paint dry, but I really like the slower scenes. I like this because it's really about character. This is really a scene about character and motivation, and love, and philosophy, and I think it's just a beautifully written piece of film, but I think it's really one of the better scenes in the show.

[Romo Lampkin's dialogue can be heard.] This little story he tells... It's a- this is a show about stories, and about stories and backstories, and human emotion. I think it's a much better direction than I think where we initially took this story, which was all about- an equally interesting topic about-

Oh, here it is. He takes of the sunglasses.

Terry: Oh but look at her.

RDM: It makes such a nice little moment.

Terry: Look at how fantastic she is.

RDM: Oh, she's great. Trish can do no wrong, basically.

[Romo Lampkin's dialogue can be heard.] See? The pen.

Terry: Hmm.

RDM: And at that moment, you either get it, or you don't, or it's- or you're so in the scene. It's just an interesting beat.

Terry: -Ssssso diabolical.

RDM: It's very diabolical.

Terry: And brilliant.

RDM: And the pen is truly a weapon.

Terry: Yeah.

RDM: The pen really is mightier than the sword at this point. The tr- pen keeps her off the stand. The pen keeps her from turning states evidence. And that- that's all Trish. Trish- just smelling the pen. I don't think that's scripted. I could be wrong. Maybe I'm robbing [[Michael Angeli|Michael]] of credit, but I think that's an actor's impulse. Look at the intensity on Mark's face here. Which is really heightened by the fact that we haven't seen his eyes, we haven't-

Terry: Yeah.

RDM: -seen his full face the whole show. That's why, I think, the sunglasses were effective. Because he takes them off at a precise moment for desired effect, and I think it works.

[Romo Lampkin's dialogue can be heard.] And their awareness of the surveillance, I think, is a nice touch. That they're- nobody's fooling anybody here. It's great. I mean, I- When the show works, the show really works. It's just- it draws you in. It does what drama's supposed to do. It makes you- it just pulls you emotionally into a moment, and keeps you there, and makes this all real.

I like- thank God we've got this little moment of, again, it's subtle beat. Where's [[William Adama|Adama]]'s button. What's he looking for? He's missing something. And it doesn't become clear until the end of the show.

This is one of the, I think, one of the best Lee-Adama scenes that we've had in the life of the series. I think this whole drinking sequence with Lampkin and- dealing with Lee's backstory, and his feelings, and philosophy, and politics, and I think is really interesting. I thi- Romo Lampkin's a f- a great character because of what he does to the rest of our characters. The way he challenges the rest of our characters, what he brings out of them. The way his particular persona gets under their skin in ways that they're not prepared for and they're not used to, and draws out these interesting aspects of their personalities.

[Lee Adama's dialogue can be heard.] We talked- this whole little backstory about [[Joseph Adama|the grandfather]]- I mean, there's a lot of references to Lee's grandfather and the law, and what kind of lawyer he was, and so on. And a lot of that is influence by the work that [[David Eick|David]], and I, and [[imdb:nm0041469|Remi Aubuchon]] did on the [[Caprica (series)|''Caprica'']] pilot. Which may or may not happen. But all of that discussion of who Joseph was-

Terry: Oh, right.

RDM: -Adama, and Joseph's role as a lawyer, and what he did for a living, and the very mixed record he have as a man who was- defending mobsters and then eventually becoming someone who defended civil liberties, was an interesting journey for the character to begin with. And a lot of this is influenced by that. It's not really setting up ''Caprica'', per se. It's not really setting anything up. It's just interesting backstory. But all those discussions added texture and context in who Lee was and why Lee might be attracted to the law. The more we knew about Joseph, and the more we had developed Joseph Adama as a character for the ''Caprica'' pilot, the more we understood why Lee might be attracted to that. And why there might be conflict with his own father, in terms of what William Adama's relationship was with his own father, his own father wasn't- it's always been an interesting thing in the show that Adama does not come from the family of soldiers. That he's not part of a long line of sol- "The Adama's have always been in the military," kind of a thing. That he's the son of a civil liberties attorney, I thought, was always a fascinating thing. That on the one hand, a lot of Adama's belief system and a lot of his values are drawn from his father, in terms of his passionate belief in the civil rights and the civil liberties and his believe in a republic, and what it meant to wear the uniform, and he's very much an idealist in that- sense. But then also he had a real falling out with his own father and that he had real problems with who his father was and what his father did for a living, how he made money, and that his father wasn't just a one note, high minded idealist. That his father also represented guys that were really shitty, and scummy, and did lots of terrible, awful things. And his father helped get them off. And then later started to take up this mantle of the civil liberties. And so- and where does that leave Lee Adama? And Lee's relationship to a man that he knows as his grandfather and that he's drawn to the law books, and he's also drawn to the uniform at the same time. And that's where we settled on who Lee is and what he's all about.

"I have to go take a crap." That may be the first time that's ever been said in a scifi series.

Terry: Geez.

RDM: I hope- we've broken new ground there.

Terry: Oh God, Ron.

RDM: I like this little beat. Was it tr- is the story about the woman true? And Mark turns around and we play it very opaquely. He says, "Yes." But... you cut back here. The fact that you cut back to him for a longer beat raises the question in the audience's mind.

This was a very difficult little section in the editorial. We didn't quite have the pieces. This is one of those things that writers put in scripts very- in a very blasé way that- you describe this setup and then it isn't communicated correctly or you don't prep it correctly, and essentially, you don't have the pieces on the day to really make this sequence work. You're- this isn't- this whole thing of the bomb working off. You wish you had more sections here to play with. There's- we're missing cutbacks to people. Timing is off a little bit. You're not really- you can't cut to the door as many times as you want to. You blow through it and you cheat as much as you can.


== Act 4 ==


RDM: Act 4- As I said originally [[Romo Lampkin| Romo]] was-that was going to take him out he was going to be dead. Lee was going to pick up the mantle based on the relationship

Terry: Oh really?

RDM: -and become the lawyer but we felt it felt too much.

Terry: yah, I agree.

RDM: And it seemed the best you could do was to invest [[Lee Adama| Lee]] into the case, at this point. He's been with Romo through this whole story, he's been in the scenes with [[Gaius Baltar| Baltar]]. He's starting to respect him to be intrigued by him. He has an interest in the law. You can buy that he'd start to get interested enough to want to be part of the team but not to be the sole lawyer. This whole little bit here, with Romo and the cleptomaniac. I love because one the things I say to my writers is: "I want you to surprise me. Surprise me with things I don't know about these characters.
Tell me things that are not in the break.

Terry: His button

RDM: His button, [[Laura Roslin| Laura's]] glasses and all that. You you go off on the break and then tell me surprise me in the story. When I was reading these pages and I got to the scene where Lee discovers that Romo Lampkin is a [[w:cleptomania| cleptomaniac]] and steals all these little bits of business. I thought it was just genius. That's...that's a real nice bit of writing. It's creative and unexpected and interesting and raises aspects of the characters that you never suspected but it completely justified by who it is. And that's a marvelous thing. It's a real joy when you're show running and you're reading scripts that you're surprised by them. You want to be surprised by them. You want to be the audience you don't want to just know what everything is.

Terry: Well those are layers those are also-what is that...a shoe?

RDM: Yah that's the shower shoe for the prosecutor.

Terry: That's so great.

RDM: We didn't play more of this, I won't want raise the expectations. There's more of Romo's cleptomania to come this was-this was something we only played in this episode. We don't really play it in the next two. I think it's fascinating a fascinating bit of psychology and character for who this guy is. He's got this little bag of stuff that he's stolen from people from all over the ship! It's just-I don't know-that's just great!

Terry: It's also really believeable for a lwayer on some levels, isn't it?

RDM: On some level isn't it? You buy it.

Terry: There such-they make such studies of human nature and you know it's like and when he's talking about the shower shoe and you can see that he favors...it's...it's

RDM: Yah, he's doing for a purpose, he get's certain things about who these people are. He steals things and are actually illuminating the character.

Terry: Yah.

RDM: Laura's glasses, what does that say? Why would he take Laura's glasses above all other things. How have her glasses define who she is? And there is something about when Laura puts those glasses on as opposed to when she has the glasses off. And Adama the button the uniform. Part of the man's literal clothing.

Terry: And when it's gone

RDM: And when it's gone he feels it. And he's not quite himself and he's a man who cares about his
appearance

(Pause)

Terry: Mark has the greatest voice.

RDM: It's a great voice. It was written in the script, "with an Irish broge," in the inital description of the character. Mark is Irish but he doesn't really have a full on broge. He puts it on a bit for this role. He doesn't really have it to this extent. He was on another science-fiction show.....[[w:Firefly (TV series)| Firefly]], he was on Firefly. He had a very prominent role. He's been on [[w:24 (TV series)| "24"]]....

Terry: [[w:Medium (TV series)| "Medium")].

RDM: Medium, he has a big recurring role on Medium.

(Pause)

Terry:

Please write letters if you think that we should see in the upcoming season.

RDM: No, don't write letters. This is not the Romo Lampkin fan club. I think that it's intersting that it's Kelly.

Terry:
Yah.

RDM:

I think that it's interesting that it's Captain Kelly that's the bomber. THat he's the guy, somehow I just buy that. The look on his face right here. I totally belive that he's the guy.

Terry: Well, he's just so stalwart.

RDM:

He's so stalwart. He's such a company man. That he just cannot abide the fact that this guy is getting a trial and this guy is getting a lawyer. It just really burns him. I think that it just burns a lot of the people in the fleet that he is getting a trial at all. I don't think that's an uncommon feeling. And I think that...

Terry:

The beginning of time, people feel that he just get strung up.

RDM: Anybody that gets accused is essentially strung up in the media in many situations. There's local radio hosts here in Los Angeles who when anybody is ever accused of a crime, especially a splashy crime. These clowns will get on the radio all day and night and just beat the drums. The guy should be convicted.

Terry: Trials are only fo the innocent.

RDM: Yah, trials are only for the innocent.

Terry: That that point of view comes from the emotion. Legalist systems are not to come from emotions.

RDM: To take emotion out of it.

Terry: And so it's it's a very human experience and it's a good thing that you showed him having it.

RDM: And I think you know, it's questionable that [[William Adama| Adama]] and his son are both in the case. That is something we went back and forth on in the writer's room over and over again and I always had qualms about it. Are we pushing too far, are the audience going to buy that both Lee and his father are in the case.

Terry: And they may not, and some people may not.

RDM: You just have to swallow it and move on. Cuz I Just felt that there's was just something there's just something about the power of the father and son dynamic that I wanted to put into the case. I wanted the case to be about our people, ultimately the case-. It's not a philosophical exercise. Its not an intelectual game about guilt or innocence. These people these people have all been involved since the beginning. And who better to be a judge than William Adama who I expect to be a fair minded person in all circumstances and who better to argue for the man who cannot be defended than Lee. And it just feels right.

(Phone ringing)

RDM: That's the office calling and they will be ignored for the length of this podcast.

Terry: I'm late

RDM: It's a little late for a conference call.

(Pause)

RDM: I like the resurgence of the father-son conflict because I don't think that father-son conflicts such as there are between Adama and his son ever really go away. I think they can resolve certain issues and they can resolve certain feelings. Fundamentally do they ever really go away. I think they can come to the surface again given the right set of circumstances and this is clearly one of those circumstances.

(Phone Ringing)

RDM: They're calling me on all my phones, I will call them back in a moment, but I must finish the podcast. I love that [[Kara Thrace| Kara]] is right next to [[Louanne Katraine| Kat]], that Lee finally put's her photo up.

Terry: (Sneezes) Excuse Me

RDM: That he puts her behind him and so does Anders, Anders with the broken leg. These two guys.....

(Phone Ringing)

RDM: (Talking on the phone)

Terry: We just saw the inner workings.

RDM: I just put off some very important for all of you unimportant people.

Terry: He's joking.

RDM: All of you very important people. I'm trying to think of something brilliant to say to justify blowing off a very important phone call. I like the fact that Anders is having real trouble getting over her death. That Lee can get over her even though Lee's loved her Kara is arguably deeper and more profound...

Terry: Yah, but his is resolved in a certain way.

RDM: His is resolved in a certain way. But Anders can't-I like the fact that it jangles his bones and it really screwed him up and he's not going to recover quickly <43:23>

Podcast:The Son Also Rises

2007-03-16T04:48:32Z

Zarek Rocks: /* Act 4 up till 40:10

Podcast:The Son Also Rises

2007-03-16T04:28:52Z

Zarek Rocks: /* Act 4 up to about 38:07

Podcast:The Son Also Rises

2007-03-16T04:15:21Z

Zarek Rocks: adding a few links

{{podcastinpro}}
== Teaser ==
RDM: Hello, and welcome to the podcast. I'm [[Ronald D. Moore]], executive producer and developer of [[Battlestar Galactica (RDM)|the new ''Battlestar Galactica'']], here to welcome you to the podcast for what we call episode seventeen, "[[The Son Also Rises]]". I am joined here in my lovely home by my equally lovely wife, [[Terry Dresbach|Mrs. Ron]]-

Terry: Love her or hate her.

RDM: Love her, or hate her.

Terry: (Chuckles.)

RDM: Just- but don't call her ditzy. Mrs. Ron- Say hello, Mrs. Ron.

Terry: Hello, Mrs. Ron. I'm gonna be very intellectual this time, I'm sure.

RDM: Yes. There are various dogs and cats wandering the room, randomly. The Scotch tonight is Highland Twentyfive, a very nice bottle of Scotch my wife lovely gave me.

Terry: For Valentine's Day.

RDM: For Valentine's Day. The smoking lamp is, unfortunately, out. Mrs. Ron-

Terry: Sorry.

RDM: Mrs. Ron doesn't join us when the smoking lamp is on- is lit.

OK. "Son Also Rises". This is the beginning of the finale, really. We snuck this in as a making the finale of [[Season 3 (2006-07)|the season]] a bit of a three parter, even though we never really said officially to the network that we were making a three parter. But it kinda is a three parter when all is said and done. And this is the first piece of it. As we approach the trial of [[Gaius Baltar]], we knew that a couple of the things that we were pretty determined to do was to somehow bring one or more of our cast members into the courtroom, as participants. We knew that that was gonna be difficult and we came up with various and sundry ideas for how to legitimize the idea of some of our people being participants in the trial. And this was where we ultimately ended up. Initially, we had talked about [[Lee Adama|Lee]] being the sole attorney for Baltar, and finding a way to justify that.

Terry: But that seemed a stretch?

RDM: That seemed too much of a stretch. We just couldn't really get there. But we also knew that as a practical matter, to do a TV series like this, to get to a place where we're gonna do a trial episode, in a series that's not setup to do a trial episode, it seemed wrong to have all the players in the courtroom. Players being the lawyers on either side and the judges, have them all be guest stars, 'cause none of your major characters would be utilized very well, and the drama would essentially- you'd be constantly pulling away from the trial to go service the other characters and find other things for them to do, where the meat of this story is really what's happening in the courtroom. So, we bit the bullet and said, "OK. There's gotta be a way to get Lee into that courtroom in a plausible scenario." And this was the scenario that we came up with, which is to start off as a guy doing security for [[Romo Lampkin|Lampkin]], and ultimately have him aid in Lampkin's defense. It also raised the question of how do we get anyone else. We all quickly loved the idea of having [[William Adama|Adama]] be one of the judges, or be a judge. In the course- at first he was gonna be THE judge, and then we altered that and decided that'd he'd be one of several judges in the courtroom.

Terry: So, there's an excellent thread on [http://forums.scifi.com/index.php?showforum=24 the Scifi board] right now, written by a bunch of lawyers. And one of the points they made, though, is, "Why wouldn't Adama have to recuse himself as somebody who was extremely involved in this case."

RDM: We...-

Terry: How do you get around that?

RDM: We did grapple with that. We talked about it at length, and we decided that what we were- that ultimately, there really weren't anybody in [[The Fleet (RDM)|the entire Fleet]] who could legitimately say they weren't involved in the case.

Terry: Yeah, but I mean he's very directly involved.

RDM: He's very directly involved, and it's a push, and we all admit that right off the bat. It's a push. All this- we wanted to get more drama into the show, so what we did was we came up with the lottery that you're watching in these intercuts. The lottery of drawing the names of the ship captains to be the judges. There wouldn't be a jury. There'd be a tribunal of judges and that they would be chosen randomly, and Adama's name was in the hat, and it came up, and he was chosen. And that it would be chosen in that method. We also talked about the idea that the system of justice that had been prevailing in the Fleet up to this point, such as it was, was probably administered by each ship captain as that ship captain saw fit, so that the captains of the various vessels in the Rag Tag Fleet had been dispensing justice on their ship for several years now, so they were the most- they seemed the most logical people to be the judges in the tribunal because they were already dealing with the administration of justice all along.

Terry: So the legal system, such it may have been, before everything that has gone on, may not necessarily be what they're pulling from in this case.

RDM: Yeah. I mean, we have always proceeded on the assumption that the legal system is a very fragile thing, in the ''Galactica'' universe. That there probably precious few lawyers. That there's really no police force. There's no real force, other than Adama's military.

Terry: So you keep the gist of the law, but not the letter.

RDM: You keep the gist of the law, but they don't, probably- we've said they don't really have a law library. They don't have much more than the law books that Adama kept from his father and passed onto Lee in a previous episode.

Terry: Right.

RDM: So the idea was that each ship probably administered its own justice, and ran their ship accordingly. Just in the tradition of the captain of the ship being the ultimate arbiter of what was legal and what was not. And that there's some kind of balance, 'cause obviously [[Laura Roslin|Laura]] does exert authority in the Fleet and has, on occasion, issued presidential directives. The "no abortions directive" being one of the examples. The [[Quorum of Twelve (RDM)|Quorum]] has authority. I think there's a lot of flexibility and a lot of gray areas in terms of what the legal authority is in the Fleet. But in any case we decided that- pull a set of judges from the ship captains, Adama's one of them. He gets pulled in. Yeah, you could argue that he should recuse himself, but at the same time, we just decided to brush off that and keep going. 'Cause the drama was more important to us at this stage of the game. Then we started- in all versions of this story, we always had this thing about [[Alan Hughes|Baltar's lawyer]]s being assassinated, and killed, and under threat. And this is- this was clearly influenced by the experience of some of the defense team of [[w:Saddam Hussein|Saddam Hussein]]. When Saddam Hussein was on trial, various members of his defense team, and members of the prosecution, and members of the judiciary, were all coming under attack in Iraq, for various- by various factions with various motives, and we wanted to play this in that same tenor.

I think this section- I'm always struck by how much [[Tyler McClendon|the actor]] playing Baltar's lawyer there looks like [[w:John Cusack|John Cusack]]. But he's not.

This sequence was always pretty much in even the early preliminary drafts of the show. I think the major changes had to do with what Lee's story were- was, in this episode. In the original story document, it was much more about- a Lee-centric story about Lee going in and interrogating [[Caprica Six]] and he was going in to talk to Caprica Six to get evidence, to see what she was willing to testify to. Could she testify? Lee was the guy that Laura had appointed to put the legal system together, and we were playing with the idea that as- in part of- part of that job is Lee determining whether Caprica Six could be a witness at trial, which went to the heart of, "Is Caprica Six a person?" If Caprica Six is a person, then her testimony would be accepted. If she's a machine then they could not take her testimony.

That's the end of the tease.

Terry: [[Mark Sheppard]].


==Act 1==

RDM: Act 1-We in [[Lee Adama|Lee]]'s pursuit of [[Caprica-Six]] it was going to be actually a lot of him going into the interrogation room one on one with Caprica Six; talking to her trying to determine whether or not, which is very controversial in the ''Galactica'' world, once they decide that [[Cylons (RDM)|Cylons]] are people it had other implications on how they should be treated and what their legal rights etc etc. Which is also complicated by the fact that [[William Adama|Adama]] had designated [[Sharon Agathon|Sharon]] as a person since he gave her the Colonial uniform. It also went to the heart of the backstory between Caprica-Six and [[Gaius Baltar|Baltar]], she was going to give up the fact that he participated in the [[Fall of the Twelve Colonies|destruction of the colonies]], that was going to be a major piece of testimony that she may or may not give. We shied away from that storyline ultimately because it felt claustrophobic on the one hand. It also felt like the issues were not as relevant as the trial itself, that it was a lot of him digging for backstory from Caprica-Six that the audience already knew. They already knew what Baltar had done and not done. That wasn't really what was most interesting in the show. So we opted to go with this other route that dealt with the aftermath of [[Kara Thrace|Kara]]'s death on Lee and Adama. Watch [[Romo Lampkin]] and how he handled the case.

I liked this sequence a lot, his is where Lee is dealing with the pilots and Lee is not really himself. I didn't comment on the other scene earlier in the tease, when we see [[Samuel Anders|Anders]] drunk and beside himself on the Viper and he falls off and breaks his leg. In the early draft of this show we had actually opened with Lee and Anders both going to the memorial wall putting the picture up on the wall as Lee had promised. In the midst of that a fight broke out between the two men, that their anger and emotions of the traumatic event; they vented on each other and it turned into a real brawl. We decided not to do that because it seemed too expected to have them fight and it just didn't seem to like it gave you any real juice in the show. It just didn't seem like it gave you any real juice to the show. It seemed much more interesting to play them in sympathy with one another. That after Kara had died their rivalry was gone the reason for their rivalry was gone and that the two men would have to gravitate towards one another if anything in their mutual mourning.

This is the introduction to Romo Lampkin who was initially, in early conversations, slotted to be a one-episode role. He was going to be in this episode, get Lee going on the trial and die at the end and have Lee take over. That was when we decided that was too much of a stretch, so we opted to keep him alive. So [[Mark Sheppard]], who plays Romo Lampkin got a three episode deal out of this.

Terry: The wonderful Mark Sheppard.

RDM: The wonderful Mark Sheppard who's a friend of ours. This scene originally opened with a long speech of Lampkin's. It was shot, it opened about a speech about fear and what fear does to people, the fear of Baltar, the fear of being Baltar's lawyer etc., what it was doing to people. I opted to cut it because it just seemed like the wrong intro, it was much more interesting to open with a guy in sunglasses not saying anything.

The [[Lampkin's cat|cat]], a cat makes its entrance into ''Galactica'' for the first time.

Terry: It looks an awful lot like our cat.

RDM: It looks a bit like one of our cats. If I had known, truth to tell, about the online fascination slash obsession with "Jake the Dog" I would've opted to make Romo Lampkin Jake the Dog's owner—

Terry: Oh, I know.

RDM: —and use the dog for the whole sequence. 'Cause the whole gag is the pet is the.

Terry: This was shot before that?

RDM: Yeah.

Terry: I'm sorry everyone.

RDM: The gag is that it's the from his dead wife. He keeps her around out of respect of her memory, but he hates the cat, which I like. That he just can't stand the cat, puts her in a bag and carries her around everywhere he goes. [[Robert Young]], who directed this, however, hated the cat, begged me to cut the cat.

Terry: Never shoot with a cat.

RDM: Never shoot with a cat, never shoot with animals.

Terry: Well, dogs at least you can train.

RDM: Yeah, you can train dogs. I remember when I was working on [[w:Star Trek|Star Trek]], [[w:Data (Star Trek)|Data]] had a cat. There used to be five cats, and each cat did exactly one trick: the cat that would jump in Data's lap, the cat that'd lie down, the cat that would eat the food, the cat that would lie down. You had to have all 5 cats on the stage.

Terry: You were lucky you had the budget. I did a movie, we only had a budget for one cat. So it was 8 hours waiting for a cat to walk across the room.
It was a nightmare, how many cats did you have on this?

RDM: I don't remember 'cause the cat doesn't have to do very much. I think it was just one cat.

Terry: It's in the bag.

RDM: It had put in the bag, it has one task. It has to run out of the [[Raptor]] later on and it doesn't run, you'll see see it kind of loped, it kind of saunters out of the Raptor.

This scene with Romo, the relationship between Romo and Lee is a really interesting one and the character of Lampkin himself is really something that is crafted by [[Michael Angeli]], who wrote this episode. I did not take a pass at this episode, this is Angeli's work. He has a very interesting and distinctive voice when he writes, Michael, in how he writes characters and what he brings to the party. Romo Lampkin was such a fully realized, interesting creation from the very first, from the first draft. Which we made substantial changes to along the way because all these shows
get changed a lot. The one thing that didn't change was Romo. Romo was just always interesting and different and there was just something fun and fascinating about this man and he stood in contrast to sort of most of our other characters.

Terry: You know that's one of the things I would say about him. He's so different from anyone we've really seen on this show before.

RDM: I would like to know what Romo's been doing out there in the fleet, I'd like to sort of backtrack and see what he's been doing. I'm sure it was right on the line between legality and ethics. It's an interesting character and I think Mark's a great choice.

Terry: I'm going to be very interested to see what the lawyers have to say.

RDM: We spent an awful lot of time dealing with the legalisms on this show.

Terry: Did you?

RDM: Yeah.

Terry: Did you know there's an awful lot of scrutiny about, "Is this going to be [[w:Law and Order|Law and Order]] in space?" And a lot of people are concerned about it.

RDM: You know, that's a high standard, truth is that's a high standard.

Terry: I love Law and Order

RDM: Law and Order's one of the best legal shows in TV. That's the end of the act.

== Act 2 ==

RDM: One of the things we did is we discussed the law and how this would all work, was we were always aware of what the truth was. How the American legal system would work. And then we would bend that to fit the [[Battlestar Galactica (RDM)|''Galactica'' universe]], and say, "OK. We have some free play, 'cause it isn't America. We can change some of the parameters." But we wanted- we always wanted the trial and the surroundings of the trial to feel familiar enough to the audience, who's- has been watching legal shows since [[w:Perry Mason|''Perry Mason'']]-

Terry: Right.

RDM: -and understands the basic conventions, the [[w:Right to counsel|right to counsel]], how testimony is given, objections, overrulings. All those things, the audience has a fluid memory of and can follow along and we wanted to keep it in that groove, but give ourselves enough flexibility, like every legal show does. I mean, truth to tell, ''Perry Mason''-

Terry: Right.

RDM: -bends the rules quite a bit, too. And we certainly bend some rules in our portrayal-

Terry: Well, you have to, 'cause if you ever sit in a real courtroom it's dull as-

RDM: -dull as dishwater.

Terry: Yeah.

RDM: But at the same time, when the characters- when they take actions that step- that break those rules, we generally have them acknowledge it, and say, "This isn't permitted," and then you move on and justify it in some fashion, so it- so you don't gloss over it. I love this- the way that [[James Callis|James]] play- is playing the character of [[Gaius Baltar|Baltar]] here. He's really taken the idea of the manifesto and the prisoner writing his political manifesto from jail and running with it.

Terry: Baltar reinvents himself, one more time.

RDM: Yeah, he reinvents himself one more time. The obsession with, "Gimme a piece of paper." The thought that has to be written down right now.

Terry: Baltar becomes [[w:Che Guevara|Che]].

RDM: Baltar as Che. Exactly.

Terry: (Laughs.)

RDM: And he really plays it, and James sells it, and- it's a really interesting transformation of the character.

Terry: What I like about it, and what I think is really the beauty of how James plays pretty much everything is that you really get the sense that whatever persona Baltar has adopted, this time, he believes it.

RDM: Oh, yeah.

Terry: He believes it thoroughly and completely himself.

RDM: He's sold, yeah.

Terry: "Well, I'm a political prisoner."

RDM: Yeah. "Of course I am." And yet his first concern being about [[Caprica Six]], knowing what she knows, and that she can sink him. And wondering what's gonna happen on that angle.

Talked a lot about the sunglasses. The sunglasses came up quite a bit. Again, an invention of [[Michael Angeli]] of [[Romo Lampkin|Lampkin]] wearin' the sunglasses until a key point in the script and then taking them off and putting them back on, and so on. It was right- hovers right on the edge of it- of being an artifice and I- even [[Mark Sheppard|Mark]], I think, voiced concern, and the direc- they were all wondering, "Are you sure you wanna do the sunglasses thing?" But I believed in it, and I believed in what Angeli was trying to do, and said, "Yeah. No, let's do it. Let's keep it." And I think it works. I think it's really effective and interesting, and I don't think it crosses the line into parody. I think it's an interesting way for this character to relate to everybody, 'cause he's essentially putting it in their face that he's walking around wearing dark sunglasses. And also I work with people who wore dark sunglasses in rooms.

Terry: I have too.

RDM: [[MemoryAlpha:Ira Steven Behr|Ira Behr]], who was my mentor.

Terry: Ira wore them?

RDM: Ira- not sunglasses, they were prescription glasses, but they were dark.

Terry: Ohhh.

RDM: And sometimes mirrored. And Ira used to enjoy- he just liked wearing dark sun- dark glasses in meetings and rooms, and it-

Terry: That's pretty funny.

RDM: It was really fun and interesting. And he did it all the time, and got away with it. And you're surprised how many people never comment on it. Ira would walk into a meeting at night with mirrored sunglasses on in writers' room, or sometimes with actors that he's never met, and nobody'll say a word. (Chuckles.) They never even questioned it. It was just an interesting little bit of psychology.

I like the way that Angeli's got Romo playing [[Lee Adama|Lee]]. Understanding where his buttons are, pushing them deliberately, getting a reaction, then cutting to the heart of the matter. It's a really interesting dynamic. It's a nicely written bit of business between the two.

Now here is, I believe, the [[Lampkin's cat|cat]]'s finest hour. {{podcastref|cat|18:22}}The cat is supposed to run out of the [[Raptor]]. That's what it says in the script and if the fucking cat had read the script, it would have run out of the Raptor. But of course it doesn't. So what it does, is it saunters out.

Terry: -saunters-

RDM: So we have to resort to one of the oooo-

Terry: -It's a cat.-

RDM: -oldest tricks in the book. We speed up the film.

Terry: Oh, you're kidding.

RDM: No, I wish I was kidding. I wish I- I wish I had the budget to make a CGI cat run out of the goddamn Raptor.

Terry: Oh my God.

RDM: But you'll see, we're gonna speed up the film here.

Terry: You know, they make cartoons, and it's a common joke about cats. Cats don't do what you tell them to.

RDM: Watch. It's comin' up- the shots comin' up right here. You see the bomb, cut into the cockpit, then as the door is closing... right here. I think we're getting there. Right there. Ohhh.

Terry: Oh, you're kidding me.

RDM: (Laughs.) It's a little bit of [[w:Land of the Lost (1974 TV series)|''Land of the Lost'']] if you get right down to it, but you know what? Sometimes you gotta do what you gotta do. (Laughs.) And so the cat zooms out. [[Robert Young|Bob Young]] hated this. He hated the fact that the cat had- the cat-

Terry: Now it's running.

RDM: -is responsible. Yeah, now it's running. 'Cause I think they're throwing things at it on the set.

Terry: (Laughs.)

RDM: But Bob really didn't like the fact that we found the-

Terry: The [[w:Society for the Prevention of Cruelty to Animals|SPCA]] was involved in the making of this-

RDM: Found the bomb through the cat, and I had to really talk him into it. I like it. I think it's just a bit of serendipity and luck and all those kind of random things. That the Raptor was supposed to have been swept for bombs, so how the hell could that have happened, and it's clearly an inside job, and all that being said.

Watch [[Edward James Olmos|Eddie]] in this episode. Eddie- this is some of his most emotional stuff. He really is teeing off on his- on Lee in these scenes. And his emotions are very raw. I mean, since the open of the episode, when he's sitting there putting [[Kara Thrace|Kara]]'s- looking at Kara's picture and going through her service folder. The tears in the eyes and the emotion that he's- that Adama's feeling is all genuine. It's all really- I think Eddie is truly in mourning.

Terry: -It's really nice to see Eddie being able to do this, because so many of his roles, I think, call for him to be so stoic and noble, and this is gotta lis- gotta lot of flesh to it.

RDM: This is a raw wound.

Terry: It really- is.

RDM: I mean, he's really lost his daughter.

Terry: And you get to see it.

RDM: It's very painful, and I think it's genuine, because I think Eddie really felt [[Katee Sackhoff|Katee]]'s loss.

Terry: Yeah.

RDM: Katee's loss on the set, and it was affecting the cast and the crew at this point. And a lot of this emotion on both their parts is just genuine.

Terry: Well, and Eddie's dad on and off the show. I mean-

RDM: Yeah. He's the father, off and on the show.

Terry: Can you get the little-

RDM: Look at that. When he says this thing about, "You think your loss is deeper? You think you feel it-"

Terry: Ohh.

(Adama's dialogue is audible.)

RDM: It's great. It's great stuff. It's just so powerful. And knowing where this goes, it's even more powerful.

That's the end of the act.

== Act 3 ==

RDM: Top of the act. The plot of who ki- who's the bomber? Who's the mad bomber on [[Galactica (RDM)|''Galactica'']], interestingly enough, in the first draft, and in a lot of the drafts, actually, until we- until very far into prep, and maybe into shooting, we were gonna have the identity of the bomber- we weren't gonna reveal them on this episode. The end of the show was gonna be the bomber still with his hands- only identified by his bomb-making apparatus, and not know who he was, and keep him alive as a threat, and we were gonna keep him alive through the actual trial, and what was he gonna do? And it- became a problem because it's the old [[w:Alfred Hitchcock|Hitchcock]] thing, if you put a- if you show a gun, [[w:Chekhov's gun|you gotta use it by the end of the movie]], and to have this guy around and keep him as a threat and not have a bomb go off in the courtroom in the finale just became a problem, and I didn't want a bomb to go off in the courtroom at the end. It just felt like it was gilling it a bit. So we talked about revealing him as, what's his face? God, I hate it when I forget the characters' names. As [[Aaron Kelly|Kelly]]. As Captain Kelly. Revealing it as Kelly but not having Kelly hauled away, and then that just felt like it was the same thing. You still had the bomber on the loose, even though we were gonna have him put his bombmaking materials away, etc, as if he was done. But then we decide, you gotta resolve it. You gotta like have the guy found.

Now this is interesting, because this is- a question of when you cut to certain pieces. This piece, I advocated, of [[Gaius Baltar|Baltar]] looking for his pen, I opted to put before the scene with [[Caprica Six]]. Which tel- where it- in this placement, you're not sure what he's doing. What's he looking for? He's looking for something he's lost. And he's trying to fi- what have I lost? And you might surmise that it's a pen, but you might not. You're just puzzled over what's going on. And then in the next sequence, when you get into the scene with Caprica Six, or not the very next sequence, sorry, when you get to the Caprica Six interrogation scene, and Baltar- and [[Romo Lampkin|Lampkin]] gives her the pen and says that Baltar sent it, that it was a deliberative missive, you start to p- if you're a smart audience member, and I think our audience is quite smart, you might put it together and say, "Oh shit! He took it from Baltar. He didn't- Baltar didn't give him the pen. He's- he took it from the guy." In the original cut, and in the directors cut, that scene took place later. It was- you saw the scene with Lampkin and Caprica Six gives him the- he gives her the pen, and then after that you cut to Baltar looking for the pen, which also tells you that it was a lie, and that it was stolen, but it's after the fact, and it's just a question of where you want the emphasis to be with the audience. When do you want them to think about that. I thought it was interesting to have this ambiguous scene of Baltar looking for something, and not know what he's looking for, and not quite even understand where that falls into the drama, and that when you got into this scene with Caprica Six and Baltar- Caprica Six and Lampkin, that at that moment you might put it together and you might, in the middle of the scene, have a realization that Bal- that Lampkin is actually pulling a fast one on Caprica Six and that it's an added layer that the audience can discover, if they choose to discover- if they choose to think about it. If you go the other way, if you put that scene after the scene with Caprica Six, they don't really have a way of doing that, and essentially they believe what Lampkin is saying, and then after they go, "Ohhhh. It was all a ruse." But by placing it before the scene, it's you giving them an opportunity to figure it out, and to have the discovery mid-scene and to have a couple of things going on at the same time. Anyway, that's an elaborate explanation for and editing choice, but that's what we did and why.

I'm very fond of this scene in this show. I love everyone's performance here. I think [[Tricia Helfer|Trish]] is playing it beautifully. I think [[Mark Sheppard|Mark]] is doing great. I like [[Laura Roslin|Laura]], [[Lee Adama|Lee]]- I mean, this is- one of those scenes that you look back on, after the show is over, after [[Battlestar Galactica (RDM)|the series]] is over, and you'll say, "Wow. What an amazing ensemble we have," because there's so much going on here, and so much of it is in subtext and the actors are all just really inside their characters and inside this scene and there's many competing agendas, and there's lots of different motivations and moments and I think the way Bob shot this is wonderful. I like the pace of this scene. I had to fight to preserve the pace of this scene, 'cause it's- it verges on the slow. And there are those who thought it was like watching paint dry, but I really like the slower scenes. I like this because it's really about character. This is really a scene about character and motivation, and love, and philosophy, and I think it's just a beautifully written piece of film, but I think it's really one of the better scenes in the show.

[Romo Lampkin's dialogue can be heard.] This little story he tells... It's a- this is a show about stories, and about stories and backstories, and human emotion. I think it's a much better direction than I think where we initially took this story, which was all about- an equally interesting topic about-

Oh, here it is. He takes of the sunglasses.

Terry: Oh but look at her.

RDM: It makes such a nice little moment.

Terry: Look at how fantastic she is.

RDM: Oh, she's great. Trish can do no wrong, basically.

[Romo Lampkin's dialogue can be heard.] See? The pen.

Terry: Hmm.

RDM: And at that moment, you either get it, or you don't, or it's- or you're so in the scene. It's just an interesting beat.

Terry: -Ssssso diabolical.

RDM: It's very diabolical.

Terry: And brilliant.

RDM: And the pen is truly a weapon.

Terry: Yeah.

RDM: The pen really is mightier than the sword at this point. The tr- pen keeps her off the stand. The pen keeps her from turning states evidence. And that- that's all Trish. Trish- just smelling the pen. I don't think that's scripted. I could be wrong. Maybe I'm robbing [[Michael Angeli|Michael]] of credit, but I think that's an actor's impulse. Look at the intensity on Mark's face here. Which is really heightened by the fact that we haven't seen his eyes, we haven't-

Terry: Yeah.

RDM: -seen his full face the whole show. That's why, I think, the sunglasses were effective. Because he takes them off at a precise moment for desired effect, and I think it works.

[Romo Lampkin's dialogue can be heard.] And their awareness of the surveillance, I think, is a nice touch. That they're- nobody's fooling anybody here. It's great. I mean, I- When the show works, the show really works. It's just- it draws you in. It does what drama's supposed to do. It makes you- it just pulls you emotionally into a moment, and keeps you there, and makes this all real.

I like- thank God we've got this little moment of, again, it's subtle beat. Where's [[William Adama|Adama]]'s button. What's he looking for? He's missing something. And it doesn't become clear until the end of the show.

This is one of the, I think, one of the best Lee-Adama scenes that we've had in the life of the series. I think this whole drinking sequence with Lampkin and- dealing with Lee's backstory, and his feelings, and philosophy, and politics, and I think is really interesting. I thi- Romo Lampkin's a f- a great character because of what he does to the rest of our characters. The way he challenges the rest of our characters, what he brings out of them. The way his particular persona gets under their skin in ways that they're not prepared for and they're not used to, and draws out these interesting aspects of their personalities.

[Lee Adama's dialogue can be heard.] We talked- this whole little backstory about [[Joseph Adama|the grandfather]]- I mean, there's a lot of references to Lee's grandfather and the law, and what kind of lawyer he was, and so on. And a lot of that is influence by the work that [[David Eick|David]], and I, and [[imdb:nm0041469|Remi Aubuchon]] did on the [[Caprica (series)|''Caprica'']] pilot. Which may or may not happen. But all of that discussion of who Joseph was-

Terry: Oh, right.

RDM: -Adama, and Joseph's role as a lawyer, and what he did for a living, and the very mixed record he have as a man who was- defending mobsters and then eventually becoming someone who defended civil liberties, was an interesting journey for the character to begin with. And a lot of this is influenced by that. It's not really setting up ''Caprica'', per se. It's not really setting anything up. It's just interesting backstory. But all those discussions added texture and context in who Lee was and why Lee might be attracted to the law. The more we knew about Joseph, and the more we had developed Joseph Adama as a character for the ''Caprica'' pilot, the more we understood why Lee might be attracted to that. And why there might be conflict with his own father, in terms of what William Adama's relationship was with his own father, his own father wasn't- it's always been an interesting thing in the show that Adama does not come from the family of soldiers. That he's not part of a long line of sol- "The Adama's have always been in the military," kind of a thing. That he's the son of a civil liberties attorney, I thought, was always a fascinating thing. That on the one hand, a lot of Adama's belief system and a lot of his values are drawn from his father, in terms of his passionate belief in the civil rights and the civil liberties and his believe in a republic, and what it meant to wear the uniform, and he's very much an idealist in that- sense. But then also he had a real falling out with his own father and that he had real problems with who his father was and what his father did for a living, how he made money, and that his father wasn't just a one note, high minded idealist. That his father also represented guys that were really shitty, and scummy, and did lots of terrible, awful things. And his father helped get them off. And then later started to take up this mantle of the civil liberties. And so- and where does that leave Lee Adama? And Lee's relationship to a man that he knows as his grandfather and that he's drawn to the law books, and he's also drawn to the uniform at the same time. And that's where we settled on who Lee is and what he's all about.

"I have to go take a crap." That may be the first time that's ever been said in a scifi series.

Terry: Geez.

RDM: I hope- we've broken new ground there.

Terry: Oh God, Ron.

RDM: I like this little beat. Was it tr- is the story about the woman true? And Mark turns around and we play it very opaquely. He says, "Yes." But... you cut back here. The fact that you cut back to him for a longer beat raises the question in the audience's mind.

This was a very difficult little section in the editorial. We didn't quite have the pieces. This is one of those things that writers put in scripts very- in a very blasé way that- you describe this setup and then it isn't communicated correctly or you don't prep it correctly, and essentially, you don't have the pieces on the day to really make this sequence work. You're- this isn't- this whole thing of the bomb working off. You wish you had more sections here to play with. There's- we're missing cutbacks to people. Timing is off a little bit. You're not really- you can't cut to the door as many times as you want to. You blow through it and you cheat as much as you can.


== Act 4 ==


RDM: Act 4- As I said originally [[Romo Lampkin| Romo]] was-that was going to take him out he was going to be dead. Lee was going to pick up the mantle based on the relationship

Terry: Oh really?

RDM: -and become the lawyer but we felt it felt too much.

Terry: yah, I agree.

RDM: And it seemed the best you could do was to invest [[Lee Adama| Lee]] into the case, at this point. He's been with Romo through this whole story, he's been in the scenes with [[Gaius Baltar| Baltar]]. He's starting to respect him to be intrigued by him. He has an interest in the law. You can buy that he'd start to get interested enough to want to be part of the team but not to be the sole lawyer. This whole little bit here, with Romo and the cleptomaniac. I love because one the things I say to my writers is: "I want you to surprise me. Surprise me with things I don't know about these characters.
Tell me things that are not in the break.

Terry: His button

RDM: His button, [[Laura Roslin| Laura's]] glasses and all that. You you go off on the break and then tell me surprise me in the story. When I was reading these pages and I got to the scene where Lee discovers that Romo Lampkin is a cleptomaniac and steals all these little bits of business. I thought it was just genius. That's...that's a real nice bit of writing. It's creative and unexpected and interesting and raises aspects of the characters that you never suspected but it completely justified by who it is. And that's a marvelous thing. It's a real joy when you're show running and you're reading scripts that you're surprised by them. You want to be surprised by them. You want to be the audience you don't want to just know what everything is.

Terry: Well those are layers those are also-what is that...a shoe?

RDM: Yah that's the shower shoe for the prosecutor.

Terry: That's so great.

RDM: We didn't play more of this, I won't want raise the expectations. There's more of Romo's cleptomania to come this was-this was something we only played in this episode. We don't really play it in the next two. I think it's fascinating a fascinating bit of psychology and character for who this guy is. He's got this little bag of stuff that he's stolen from people from all over the ship! It's just-I don't know-that's just great!

Terry: It's also really believeable for a lwayer on some levels, isn't it?

RDM: On some level isn't it? You buy it.

Terry: There such-they make such studies of human nature and you know it's like and when he's talking about the shower shoe and you can see that he favors...it's...it's

RDM: Yah, he's doing for a purpose, he get's certain things about who these people are. He steals things and are actually illuminating the character.

Terry: Yah.

RDM: Laura's glasses, what does that say? Why would he take Laura's glasses above all other things. How have her glasses define who she is? And there is something about when Laura puts those glasses on as opposed to when she has the glasses off. And Adama the button the uniform. Part of the man's literal clothing.

Terry: And when it's gone

RDM: And when it's gone he feels it. And he's not quite himself and he's a man who cares about his
appearance

(Pause)

Terry: Mark has the greatest voice.