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Episode two is also— it was a very problematic show, in a lot of— for a lot of reasons, in editing and post-production, and there was a lot of controversy about the show, there was a lot of re-editing— one could fill an entire DVD with the various cuts of this episode. Starting right here: this scene, with [[Billy Keikeya|Billy]], [[Anastasia Dualla|Dualla]], at the beginning is now one of the nicer textures in the show, in that it sets up this nice little subplot that we touch on later. This was actually shot much later. This was something we went back and put into the show, because there was a feeling that the show was too dark, that there was too intense, it was too violent, that there was— it wasn't enough, sort of ''life'' in it, and there weren't in other colors, as it were, to— of other textures, and human stories going on, so what we did was we shot the bookends, of Billy and Dualla in the corridor here at the beginning, and Billy and Dualla in sickbay at the end, and we also expanded the Caprica piece that I'll talk about later. Essentially, though, we did have in the original draft and the original cut, there was the sequence of Billy encountering Dualla in the corridor and them going off together, and all the action that takes place with Billy and Dualla in the action part of the story. What we didn't have was any texture about their relationship, and why they— why he found her, and why he reacted to her the way he did, why there was any kind of relationship. And the feeling— I felt that— [[David Eick|David]] and I talked about this when we were getting a lot of heat about how dark the show was, and we talked about just in general, the fact that it would be nice to touch on that storyline again. And now it's like a ''story'': it has a beginning, middle, and end. There's the setup of the relationship and what's going on with Billy and Dualla, that she's feeling a bit shut out with him, and then they run into each other in the context of the action story, and then there's a wrap-up at the end. So we created, essentially, a story out of what was just sort of a runner. | Episode two is also— it was a very problematic show, in a lot of— for a lot of reasons, in editing and post-production, and there was a lot of controversy about the show, there was a lot of re-editing— one could fill an entire DVD with the various cuts of this episode. Starting right here: this scene, with [[Billy Keikeya|Billy]], [[Anastasia Dualla|Dualla]], at the beginning is now one of the nicer textures in the show, in that it sets up this nice little subplot that we touch on later. This was actually shot much later. This was something we went back and put into the show, because there was a feeling that the show was too dark, that there was too intense, it was too violent, that there was— it wasn't enough, sort of ''life'' in it, and there weren't in other colors, as it were, to— of other textures, and human stories going on, so what we did was we shot the bookends, of Billy and Dualla in the corridor here at the beginning, and Billy and Dualla in sickbay at the end, and we also expanded the Caprica piece that I'll talk about later. Essentially, though, we did have in the original draft and the original cut, there was the sequence of Billy encountering Dualla in the corridor and them going off together, and all the action that takes place with Billy and Dualla in the action part of the story. What we didn't have was any texture about their relationship, and why they— why he found her, and why he reacted to her the way he did, why there was any kind of relationship. And the feeling— I felt that— [[David Eick|David]] and I talked about this when we were getting a lot of heat about how dark the show was, and we talked about just in general, the fact that it would be nice to touch on that storyline again. And now it's like a ''story'': it has a beginning, middle, and end. There's the setup of the relationship and what's going on with Billy and Dualla, that she's feeling a bit shut out with him, and then they run into each other in the context of the action story, and then there's a wrap-up at the end. So we created, essentially, a story out of what was just sort of a runner. | ||
As a consequence, though, and this is a problem that I freely acknowledge, there is a sense in these opening scenes that the characters seem unaware of the danger that they're in. Which was a deliberate choice, but it was sort of accentuated now by this Billy/Dualla interlude at the beginning, where you don't quite feel the same sense of urgency that you want. I think that the show kind of opens in a lower key than I wish it did. Conceptually, the rationale here is that this is just ''moments'', literally moments after the end of episode one. A lot of things are happening simultaneously. The [[Viper (RDM)|Vipers]] are— pilots are still getting out of their Vipers, we've got a lot of immediate aftermath of the battle still going on. They're still figuring out what happened in [[CIC]]. Tigh's had time to make his way down to sickbay, but that's about it. And it's really— you had enough time for him to check on [[William Adama|Adama]] and see how he is, and not much else has happened. And clearly everyone down on the hangar bay is unaware that anything untoward has happened. But I think it is a fair criticism to say that as you watch the episode now, that at the beginning it feels like too much time has passed since the end of episode one, and it feels like they're too lackadaisical, and too unaware of the fact that they have a potential danger in the starboard landing pod. And that's fair. Y'know, I mean we tried adjusting certain things, we tried to sort of up the urgency quotient, as it were in these initial sequences. Y'know, the lights are out. These guys are just walking down the corridor and have no idea what they're about to happen on, and kaboom. | |||
It's still an effective open, I mean, and it's like, yeah, if you could— in a perfect world the whole sequence would have been designed to sort of sustain a sense of urgency throughout the entire tease in such a way that it wouldn't bother you quite as much. But y'know, I think it does work. I mean, I think you can take that leap as an audience and by the time you get the tease, certainly, I don't think you're— the end of the tease, certainly, I don't think you're thinking about, oh y'know, "what took them so long to discover the Cylons?" Hey, there's a Cylon right there; it just ripped [[Flyboy|that guy]] in half. So I think it kind of satisfies the bloodlust on the behalf of the audience. | |||
Oh, and as an added texture, that number of the survivors will change week to week, by the way. We are tracking the number of survivors, actually. And that's the end of the tease. | |||
Revision as of 22:42, 28 September 2006
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Hello, and welcome to the podcast for episode two, season two, this will be discussing "Valley of Darkness". As those of you who listened to the podcast of episode one, "Scattered", know, "Valley of Darkness" was originally part of "Scattered". All the "B" storylines, the character lines, and what happens on Kobol and Caprica, et cetera, were all originally in the season opener, and we felt that it was just too much, too much to cram into one episode. So we basically split it into two. The significantly new element in "Valley of Darkness", of course, is the boarding action against Galactica, which is where we left off. The finale of the first episode which of course ends with the Cylons in the landing pod. Once we split "Scattered" into two parts, everyone agreed that the simple "A" story of the Fleet (RDM) being scattered and Tigh's efforts to put the fleet back together were not enough to really sustain you for two full hours. They were fine to get you through one hour, but we really couldn't attenuate that story to a place where you would go through two episodes doing it. So we had to come up with something, and it seemed that a logical place to go, that if a Cylon Raider got through, crashed in a landing bay— in the starboard landing bay, where the museum was— that we could, as a jumping off point, we could say that that's where part one ends and part two picks up.
Episode two is also— it was a very problematic show, in a lot of— for a lot of reasons, in editing and post-production, and there was a lot of controversy about the show, there was a lot of re-editing— one could fill an entire DVD with the various cuts of this episode. Starting right here: this scene, with Billy, Dualla, at the beginning is now one of the nicer textures in the show, in that it sets up this nice little subplot that we touch on later. This was actually shot much later. This was something we went back and put into the show, because there was a feeling that the show was too dark, that there was too intense, it was too violent, that there was— it wasn't enough, sort of life in it, and there weren't in other colors, as it were, to— of other textures, and human stories going on, so what we did was we shot the bookends, of Billy and Dualla in the corridor here at the beginning, and Billy and Dualla in sickbay at the end, and we also expanded the Caprica piece that I'll talk about later. Essentially, though, we did have in the original draft and the original cut, there was the sequence of Billy encountering Dualla in the corridor and them going off together, and all the action that takes place with Billy and Dualla in the action part of the story. What we didn't have was any texture about their relationship, and why they— why he found her, and why he reacted to her the way he did, why there was any kind of relationship. And the feeling— I felt that— David and I talked about this when we were getting a lot of heat about how dark the show was, and we talked about just in general, the fact that it would be nice to touch on that storyline again. And now it's like a story: it has a beginning, middle, and end. There's the setup of the relationship and what's going on with Billy and Dualla, that she's feeling a bit shut out with him, and then they run into each other in the context of the action story, and then there's a wrap-up at the end. So we created, essentially, a story out of what was just sort of a runner.
As a consequence, though, and this is a problem that I freely acknowledge, there is a sense in these opening scenes that the characters seem unaware of the danger that they're in. Which was a deliberate choice, but it was sort of accentuated now by this Billy/Dualla interlude at the beginning, where you don't quite feel the same sense of urgency that you want. I think that the show kind of opens in a lower key than I wish it did. Conceptually, the rationale here is that this is just moments, literally moments after the end of episode one. A lot of things are happening simultaneously. The Vipers are— pilots are still getting out of their Vipers, we've got a lot of immediate aftermath of the battle still going on. They're still figuring out what happened in CIC. Tigh's had time to make his way down to sickbay, but that's about it. And it's really— you had enough time for him to check on Adama and see how he is, and not much else has happened. And clearly everyone down on the hangar bay is unaware that anything untoward has happened. But I think it is a fair criticism to say that as you watch the episode now, that at the beginning it feels like too much time has passed since the end of episode one, and it feels like they're too lackadaisical, and too unaware of the fact that they have a potential danger in the starboard landing pod. And that's fair. Y'know, I mean we tried adjusting certain things, we tried to sort of up the urgency quotient, as it were in these initial sequences. Y'know, the lights are out. These guys are just walking down the corridor and have no idea what they're about to happen on, and kaboom.
It's still an effective open, I mean, and it's like, yeah, if you could— in a perfect world the whole sequence would have been designed to sort of sustain a sense of urgency throughout the entire tease in such a way that it wouldn't bother you quite as much. But y'know, I think it does work. I mean, I think you can take that leap as an audience and by the time you get the tease, certainly, I don't think you're— the end of the tease, certainly, I don't think you're thinking about, oh y'know, "what took them so long to discover the Cylons?" Hey, there's a Cylon right there; it just ripped that guy in half. So I think it kind of satisfies the bloodlust on the behalf of the audience.
Oh, and as an added texture, that number of the survivors will change week to week, by the way. We are tracking the number of survivors, actually. And that's the end of the tease.