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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— 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 does. 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, they're not true flashbacks.
RDM: They're sort of— they're contemporary.
O'Halloran: Right.
Gravett: Because you don't want it to seem like he's going senile, like it's all just in his head. So that's—
O'Halloran: But not like— not in a psychotic way—
Gravett: Right.
O'Halloran: It's as if she were still alive, this is how she would react in this situation, in his mind, as his would be—
RDM: But I wonder if we should em— If we should shift the emphasis of the show to the Tyrol— If we thought of Tyrol-Cally as the A story, and Adama-Carolanne as the B story, would the show— would it help us a little bit just in setting the terms to the show? 'Cause maybe the Adama— the Adama line is so soft, it really doesn't have any true jeopardy or any emotional stakes to it, but— and the Tyrol-Cally line does. Maybe if we just suddenly play a little bit more— I mean, it's essentially a story about two marriages—
O'Halloran: I was gonna say, it's that what works so well, it (unintelligible) the position of a young marriage just getting started and one—
RDM: —and one that's—
O'Halloran: —finished now.
RDM: —the divorced, dead one.
O'Halloran: It plays really well against one another.
RDM: It's just the question of how you— how the rhythm of those two things play. Well, let's watch the tease.
RDM: (unintelligible) —looks are there. Is there a matching for the empty bunk, through his POV?
Gravette: No.
RDM: 'Cause we looked over then we cut to the toilet.
Gravette: Yeah.
RDM: Which feels (unintelligible).
Gravette: I can try to get around it.
RDM: I wish there was. Just because that moment tells you that she's not there.
Gravette: She's not there.
RDM: Do we have any shots of the empty bunk (unintelligible).
Gravette: We can try to manufacture something up, but yeah, I was aware of that...
RDM: 'Cause I think that is kind of important here. I mean it's— in this long shot it's also dark, you can't tell that she's not in the bed.
Gravette: Yeah, it's tough.
RDM: And somewhere in here we need to get the idea that the womans not really there.
Gravette: We might have to pick that up.
RDM: Okay.
Gravette: Yeah, actually on this group, kinda limbs in our choices. There's not a ton of coverage. We shot it on two separate days. But, we'll slug that for a pick up.
RDM: Okay
RDM: This episode... hard to hear... did you notice that too?
Gravette: I did, absolutely.
RDM: 'Cause on my DVD there were points where I was really trying to dig it out.
Gravette: Yeah, this scene, it's all married. It's all on the production track, the toothbursh scence, I don't have separate tracks for—
O'Halloran: Right, the water's kind of tied to (unintelligible) to loop all this.
RDM: There's also a lot of, what feels like, just very muddy, mumbly performance for a change. I don't know if the mics are in the wrong position or something.
Gravette: Yeah, even with that Tyrol—Cally scene it's the same way.
RDM: Yeah I know, the Tyrol—Cally scence, I had to run a couple of time to understand what they were saying.
Gravette: Yeah. Yeah, we'll check. Raise the audio where we can.
RDM: Okay.
Gravette: So.
RDM: Let's keep going.