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O'Halloran: Hello | O'Halloran: Hello | ||
RDM: —we're at the post-production editing suites here at the [http://www.universalstudios.com Universal] lot, and we're working on the director's cut of "A Day in the Life". | RDM: —we're at the post-production editing suites here at the [http://www.universalstudios.com Universal] lot, and we're working on the director's cut of "A Day in the Life". OK. | ||
I like this epis— I like things about this episode, I think ultimately, <!-- 0:30 -->as I was watching it, it took a while to get going. And it seems— the [[William Adama|Adama]]-[[Carolanne Adama|Carolanne]] beats kind of lither, they don't— I'm just not pulled into that story enough, I'm wondering if— and it didn't really have a solution, except— I was thinking that maybe the stuff that comes out on the end about the divorce and the relationship with [[Lee Adama|Lee]], if there was a way to maybe move some of that material up earlier, so that we sort of— if we knew some of those <!-- 1:00 -->things about their relationship, about Adama and Carolanne in the open— in the beginnings, at some place, that that would maybe flavor and color the things about what was happening through the rest of the show. And maybe there's a way of that— y'know that the final scene with Lee and Adama, where Lee reveals all that, if we move some of that up in the earlier section... It's just a question of what's the resolution of the story without that, because it's— the beat with him and her after <!--1:30 -->he's with Lee, when they're in the house and he's saying "I wish I'd known, I can't believe you were like that". And they've reconciled, I don't quite sense that the journey's somehow— | |||
O'Halloran: Well, it's a nice reveal, but it's almost too big a reveal— | |||
RDM: Yeah. | |||
O'Halloran: —like you don't realize where it's going and it's a big surprise (unintelligible), but it comes almost as too much for the last few moments of the show. | |||
RDM: It's like everything happens at the end, when they get out the Tyrol— the [[Cally Henderson|Cally]] line resolves at the end <!-- 2:00 --> and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering <!-- Yes, that's a word! It describes the curving of a river -->around, you know what I'm saying? | |||
Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of [[Galen Tyrol|Tyrol]]-Cally, that's when the story starts moving. But it's <!-- 2:30 -->weird for me, because the Carolanne-Adama scenes | |||
== Hour 2 == | == Hour 2 == | ||
== Hour 3 == | == Hour 3 == | ||
Revision as of 19:59, 25 February 2007
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Hour 1
RDM: OK, hello and welcome to the podcast. This is a— gonna be a different podcast for us this week, we're gonna do— this is the editing session for episode what we call 14, "A Day in the Life". We're here with my editors, Jaques Gravett—
Gravett: Hello, hello.
RDM: —Mike O'Halloran—
O'Halloran: Hello
RDM: —we're at the post-production editing suites here at the Universal lot, and we're working on the director's cut of "A Day in the Life". OK.
I like this epis— I like things about this episode, I think ultimately, as I was watching it, it took a while to get going. And it seems— the Adama-Carolanne beats kind of lither, they don't— I'm just not pulled into that story enough, I'm wondering if— and it didn't really have a solution, except— I was thinking that maybe the stuff that comes out on the end about the divorce and the relationship with Lee, if there was a way to maybe move some of that material up earlier, so that we sort of— if we knew some of those things about their relationship, about Adama and Carolanne in the open— in the beginnings, at some place, that that would maybe flavor and color the things about what was happening through the rest of the show. And maybe there's a way of that— y'know that the final scene with Lee and Adama, where Lee reveals all that, if we move some of that up in the earlier section... It's just a question of what's the resolution of the story without that, because it's— the beat with him and her after he's with Lee, when they're in the house and he's saying "I wish I'd known, I can't believe you were like that". And they've reconciled, I don't quite sense that the journey's somehow—
O'Halloran: Well, it's a nice reveal, but it's almost too big a reveal—
RDM: Yeah.
O'Halloran: —like you don't realize where it's going and it's a big surprise (unintelligible), but it comes almost as too much for the last few moments of the show.
RDM: It's like everything happens at the end, when they get out the Tyrol— the Cally line resolves at the end and then that big reveal comes after it, and the— all the show leading up to it just feels like it's just kind of meandering around, you know what I'm saying?
Gravett: Right. The tough thing about this one is that the Adama-and-Carolanne scenes, since they're not truly flashbacks, how do you play them? Because it's— I think once we get into the jeopardy of Tyrol-Cally, that's when the story starts moving. But it's weird for me, because the Carolanne-Adama scenes