Podcast:Valley of Darkness
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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.