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I like this notion of- the beat that open this little section here with Lee and Dualla, that the pilots and the crew had private signals among themselves to "Stay clear of the quarters when I got a girl, or man, or both inside." And that they had a private signal. You couldn't quite see it 'cause we had to cut the- clip off the head of that shot when Duck and the other pilot came up there was a pair of boots were hanging from the hatch, and they knew, as soon as they saw the pair of boots that that meant that somebody was in there and getting a little something. And that was what prompted them to bang on the door, and the gag was, "Oh. It's the CAG." And they kinda looked at each other and went away. | I like this notion of- the beat that open this little section here with Lee and Dualla, that the pilots and the crew had private signals among themselves to "Stay clear of the quarters when I got a girl, or man, or both inside." And that they had a private signal. You couldn't quite see it 'cause we had to cut the- clip off the head of that shot when Duck and the other pilot came up there was a pair of boots were hanging from the hatch, and they knew, as soon as they saw the pair of boots that that meant that somebody was in there and getting a little something. And that was what prompted them to bang on the door, and the gag was, "Oh. It's the CAG." And they kinda looked at each other and went away. | ||
This sequence- this little scene here with Dualla and Lee, we played around with in editing quite a bit. There were some lines that were dropped that indicated that a longer passage of time between end of the last episode and this one, to give Dualla some time to mourn, to give Lee a little time to recover, and move everything along the timeline. | |||
This storyline, the "B story" here, of Rya Kibby and her unwanted pregnancy, and then the abortion decision that Laura eventually comes to was actually a storyline we had developed very early. We had started talking about this idea early in the first season as a- as a potentially interesting storyline for us 'cause it dealt with a practical issue of, "What are their policies, in the Fleet, going to be in terms of birth control, in terms of abortion?" The population of the species was going to be hang in the balance, and what would these people really do in these circumstances? And it was definitely an issue we wanted to deal with, and wanted to play, and wanted to see how the characters would react in this circumstance. I thought there was something interesting about Laura Roslin, whose politics on the surface seem moderate-to-liberal, Secratary of Education, and one of the ongoing threads of the entire series was watching as Laura is slowly changed by the repsonsibilities of being President. And this storyline was one of those key ideas that, like I said, we talked about early in the first season. And I was fascinated with the idea of this soft-ish appearing woman who's probably, presumably, has all the politically correct positions on these sorts of matters being forced to grapple with the real responsibilities of her role. And I was always interested by playing against the expectations that, I've said this many times though, Laura would be the "dove", and Adama would be the "hawk", and that would always provide very predictable expected conflict between the two. And I always thought it was interesting to subvert that at every- at every turn and always put the characters in situations where they would have to grapple with them as human beings rather than as- as- as just stalking horses for expected political positions. | |||
Here comes John Herd, who I think is a great actor, in many, many things. I knew him, as soon as his name came up, I was "Oh, yeah! From ''Big''!" Which I think was a tremendous movie and a wonderful, wonderful, film and John had the quasi-villainous role in that episode- in that movie. And more recently I had known him from his work on ''Sopranos'' as the corrupt police Lieutenant. I think John's a great actor and we were really, really happy to have him on the show. He fit in really well. He provided a different color, different flavor to the part and so- it's always nice to get name guest cast to come in and juice up the production a little bit here and there. | |||
Captain's hand is also a mix between a standalone episode and a more traditional continuing episode of ours. I think it successfully straddles the line in terms of continuing the ongoing storylines of Lee, and Dualla, and Baltar, and Laura, and Kara, and at the same time dealing with issues that are self-contained within one episode. | |||
Oh, here comes the beep! Oh no! Cover your ears. | |||
Revision as of 17:00, 2 May 2006
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Hello, and welcome to the podcast for episode 17 of season 2. I'm Ronald D. Moore, executive producer and developer of the new Battlestar Galactica, and this is for "Captain's Hand," the podcast that was delayed from last week, so I'll be giving it to you this week. In fact I'll be doing two of them back to back tonight. I'll do "Captain's Hand" and then we'll go right into "Downloaded", on a separate track, of course. (Zippo lighter.)
Before we get going we should probably mention, right off the top, that let's have a little less of the whining, out there on the bulletin boards, shall we, about the noises in the background here at the pod- at the podcast around the old Moore manse. You know folks, you just gotta be tough enough to listen to the podcast. These are imperfect conditions. We do this at my home, not in a nice, tidy, little studio. We do ever our best effort to keep it quite for y'all, but c'mon, enough with the whining, with the pewing- with the mewling and puking out there. Be tough enough for the podcast. We drink, we smoke, we curse, we have a good time. Get with it- get with the program.
Ok. So here we are. Pegasus. Teaser. There go the Raptors off on a training mission. In early drafts of "Captain's Hand" this particular crisis happened much later in the show. It was one of the problems that we struggled with in the early drafts of the story was, what was the nature of the crisis, and when should it begin.
The whole notion of this episode revolved around the coninu- acknowledging and dealing with the continuing command problems aboard Pegasus, which felt like a natural outgrowth of the idea that the ship, the Battlestar Pegasus, that showed up was a deeply flawed, almost piratical ship, under the command of Admiral Cain. Well, if Admiral Cain had run her ship the way that we saw her run that ship, one would assume that there would be a variety of problems that would definitely outlive her. And so we wanted to continue to play that as the season went on, and the first CO after Cain was obviously Commander Fisk, who promptly got himself into the black market and got himself killed for the trouble. And then we moved on to Commander Garner, who in early drafts was always named Trammel. But legal, as legal often does, came back to us with some- some whining about the name Trammel, about it being too close to somebody else's real name, and of course, we had to change it over to Garner at the last second. So there are many references that we all kept catching ourselves calling him Trammel. In fact, we named him Trammel in an earlier episode, in an offhand way. A line from Adama. We had to go back and reloop that in ADR at the last second.
I like this notion of- the beat that open this little section here with Lee and Dualla, that the pilots and the crew had private signals among themselves to "Stay clear of the quarters when I got a girl, or man, or both inside." And that they had a private signal. You couldn't quite see it 'cause we had to cut the- clip off the head of that shot when Duck and the other pilot came up there was a pair of boots were hanging from the hatch, and they knew, as soon as they saw the pair of boots that that meant that somebody was in there and getting a little something. And that was what prompted them to bang on the door, and the gag was, "Oh. It's the CAG." And they kinda looked at each other and went away.
This sequence- this little scene here with Dualla and Lee, we played around with in editing quite a bit. There were some lines that were dropped that indicated that a longer passage of time between end of the last episode and this one, to give Dualla some time to mourn, to give Lee a little time to recover, and move everything along the timeline.
This storyline, the "B story" here, of Rya Kibby and her unwanted pregnancy, and then the abortion decision that Laura eventually comes to was actually a storyline we had developed very early. We had started talking about this idea early in the first season as a- as a potentially interesting storyline for us 'cause it dealt with a practical issue of, "What are their policies, in the Fleet, going to be in terms of birth control, in terms of abortion?" The population of the species was going to be hang in the balance, and what would these people really do in these circumstances? And it was definitely an issue we wanted to deal with, and wanted to play, and wanted to see how the characters would react in this circumstance. I thought there was something interesting about Laura Roslin, whose politics on the surface seem moderate-to-liberal, Secratary of Education, and one of the ongoing threads of the entire series was watching as Laura is slowly changed by the repsonsibilities of being President. And this storyline was one of those key ideas that, like I said, we talked about early in the first season. And I was fascinated with the idea of this soft-ish appearing woman who's probably, presumably, has all the politically correct positions on these sorts of matters being forced to grapple with the real responsibilities of her role. And I was always interested by playing against the expectations that, I've said this many times though, Laura would be the "dove", and Adama would be the "hawk", and that would always provide very predictable expected conflict between the two. And I always thought it was interesting to subvert that at every- at every turn and always put the characters in situations where they would have to grapple with them as human beings rather than as- as- as just stalking horses for expected political positions.
Here comes John Herd, who I think is a great actor, in many, many things. I knew him, as soon as his name came up, I was "Oh, yeah! From Big!" Which I think was a tremendous movie and a wonderful, wonderful, film and John had the quasi-villainous role in that episode- in that movie. And more recently I had known him from his work on Sopranos as the corrupt police Lieutenant. I think John's a great actor and we were really, really happy to have him on the show. He fit in really well. He provided a different color, different flavor to the part and so- it's always nice to get name guest cast to come in and juice up the production a little bit here and there.
Captain's hand is also a mix between a standalone episode and a more traditional continuing episode of ours. I think it successfully straddles the line in terms of continuing the ongoing storylines of Lee, and Dualla, and Baltar, and Laura, and Kara, and at the same time dealing with issues that are self-contained within one episode.
Oh, here comes the beep! Oh no! Cover your ears.