Podcast:Frak Party Q and A: Difference between revisions
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Man: How much did you break when you were writing this episode? | Man: How much did you break when you were writing this episode? | ||
RDM: Well when we— this episode went through quite a transition, we— it was all about the trial of Gaius Baltar, then as I said, I was in the room, we were breaking the show, and we came about the trial of Gaius Baltar and the revelation of the final four. When it got to draft teleplay, it was a lot like this, but there was a whole other story that had to do with the [[ | RDM: Well when we— this episode went through quite a transition, we— it was all about the trial of Gaius Baltar, then as I said, I was in the room, we were breaking the show, and we came about the trial of Gaius Baltar and the revelation of the final four. When it got to draft teleplay, it was a lot like this, but there was a whole other story that had to do with the [[Sagittaron]]s, and a long <!-- 25:30 -->plotline that we'd developed over the course of the sec— the third season that had to do with the Saggitaron colony and their people. And actually, Baltar was involved in a massacre on New Caprica, involving the Saggitarons, and— a long, intricate thing. And it just wasn't working. And when I— in some episodes more than others, I take a pass at the final draft myself, and on this one, on the finale, I took a pass at it, and as I was writing it, I just said "You know what, the Saggitaron thing doesn't work." And I just tossed <!-- 26:00 -->it, which meant we had to go back and reedit subseq— the earlier episodes and reshoot some things to edit all that out. And I just windowed it down to— closer to what this was. The things that were added in my pass at the very end were things like Laura getting cancer, "Watchtower" was in it, but actually, I think in [[Michael Taylor]]'s draft of the fir— of "[[Crossroads, Part I]]", in the teaser Michael was actually intercutting them at [[w:Woodstock Festival|Woodstock]]— <!-- 26:30 --> | ||
(Laughter) | (Laughter) | ||
Revision as of 13:40, 1 May 2007
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Introduction
RDM: It's on.
OK, welcome to a very special podcast, this is not the official podcast, there'll be another one that'll narrate through the course of the episode. I'm doing this one in Berkeley, California with a group of friends at a frak party. Say hello, everybody.
Crowd: (cheers)
RDM: We're at the home of?
Madelyn: Madelyn and Scott
RDM: Madelyn and Scott, thank you very much for hosting this. And essentially we're gonna record Act 4 here, of the season finale, "Crossroads, Part II", and you'll hear their— the show, and the reactions live on this podcast, and immediately thereafter we'll just start talking about the episode.
Woman: It's the fans' voice.
RDM: It's the voice of the fans. So we'll pause right here...
Act 4 of "Crossroads, Part II"
RDM: OK, here we go.
Woman: (unintelligible) Did you hear that? That's OK, we know.
(Dresden Files commercial plays)
(Episode starts playing)
(The piece is which Gaius Baltar is taken by a group of protectors is heard)
Woman: He's been kidnapped by a (unintelligible), this is my kid's wet dream. (laughs)
(Episode plays for a while)
(Opera House music plays, we hear another of Caprica-Six's dreams.)
Woman: So are those the five who're being Cylons?
Man: The Final Five.
(Episode plays for a while)
(Saul Tigh says: "Said the Joker to the thief")
Man: Whoa.
Another man: What?!
Woman: It's a reference to the song called earlier in the episode again.
Man: (unintelligible)
Woman: It's a song from Dylan.
(Episode plays for a while)
(Tory Foster says: "I can't get no relief")
(One audience member screams, some others are laughing)
Woman: They did the whole song!
(Episode plays for a while)
(Galen Tyrol says: "So that's it. After all this time, the switch goes off, just like that.")
(Tigh enters. Whoooah.)
(Audience erupts in laughter.)
Someone: Oh my God.
(Episode plays for a while)
(Tyrol: "It's true. We're Cylons. And we have been from the start.")
Man: Bet you'd wish you'd stood up for Boomer now.
(Laughter)
(Episode plays for a while)
(Adama: "Good to see you, Colonel.")
(Tigh: "Good to be here, Admiral. You can count on me.")
(Cynic sounds from the audience)
(Episode plays for a while)
(Episode ends)
(Audience applauds)
Discussion
Reactions
RDM: And that's the show, boys and girls.
Woman: Awesome!
Man: I'm ready for the zombie season.
Other man: To be honest with you, I liked that a lot better than the end of Season Two.
RDM: Really?
Man: Yeah, I do.
RDM: Why?
Man: Because it shows hope, it shows Kara's final— her— y'know, what her destiny is, so it's like the (unintelligible) book ends, and like now you're saying in the podcast about Act 3, now, per say, so that's why I should like this a lot better.
RDM: Why didn't you like the end of epis— the end of Season 2?
Man: No, I did, I liked the end of Season 2, but I'm saying I should like this even just a lot better.
RDM: Really?
Man: Yeah, because also— I kinda— I mean I also liked what the guys did for all the graphics, they— 'cause it's the season finale, so I really appreciate all this— the flying part 'cause I'm a pilot myself, so I really like that part. I like how she just came in and just surprised them, and that kind of stuff, it was a really good job.
Other man: Well the first two seasons also had been more and more bad news, basically— y'know, increasingly dire situations, and it was something that we liked— was the fact that on New Caprica, basically, seeing as the very last things— everything was worse than you could possibly imagine. I mean you could've done that again this time around, but now we basically have no clue of what's going of, except that there's a lot going on, and even we have our first (unintelligible) of how Earth plays in in the series. So I think that's a reason to like it so much, and even better just because it's a completely different kind of cliffhanger—
RDM: Oh?
Man: —it's not just the usual tragedy.
Woman: I know that this wasn't entirely your choice, but at the end of Season 2, it felt as though we were kind of cheated, of that time, seeing them develop on New Caprica.
RDM: Yeah.
Woman: And this— there's nothing that we're cheated, we're just waiting for what's going to happen. We don't have to worry about what has already happened that we have to figure out.
RDM: OK.
Choosing the Final Five
Man: Last time you gambled with our perception of— you'll (unintelligible) a bit, you'll leave a big gap, but now, right now the biggest gap is how do you explain Tigh. He's been there for so long—
RDM: That's a good question, isn't it?
Man: —you're gambling with the plot.
RDM: I can only tell you that when we t— some of this won't be repeated on the other podcast, so forgive the listeners at home, but— the idea for turning four of them into Cylons was something that I came up [with] in the room. We were talking about the season finale, and the trial of Gaius Baltar and how it was going to end, and we had various things about the ending, that— y'know, the surprises in the trial and so on, and I had this sense of dissatisfaction, I remember saying to the writers: "I just wish— y'know, I've had this recurring thought of four of our characters walking into a room on Galactica, just drawn— just cut into them, walking into a room. They all walk in, and they shut the doors, and they look at each other and they say: 'OK, we're Cylons.' And it would just click, it just suddenly happens, you just (unintelligible) four people that we've known." And as we started talking about who would those four be, and we narrowed the (unintelligible) down quickly. [15:57]It was apparent that we didn't want Eddie to be one, we didn't want Adama, that'd seem like it robbed something from the show, so did Mary. And so when you took those two off, then it became OK. Lee didn't— wasn't sure what Lee gave you, we talked about Tyrol, well, Tyrol seemed kind of natural. He had a certain affinity for the Cylons, he was in love with a Cylon, he had started— something was happening to him on the algae planet, where he was drawn towards the temple—
Woman: He's married to a human—
RDM: —he's married to a human. I mean, there were various things that made sense for Tyrol. Anders seemed interesting 'cause he was drawn to Kara, why had he survived in two resistances so far, if Kara had a special destiny, where did Anders fit into that pantheon. Tory was interesting because she was a wildcard, we didn't know anything about her, but she'd been in the show long enough to justify it. And then it became "Well, you know what, and the real one would be Tigh." If Tigh was a Cylon, that would be the scariest one of all because he's the most human character. And Tigh was the one, truthfully enough, that I wrestled with the most. Right up until the point we were shooting it, I was— I wasn't sure, and I just committed, and said "Let's just go for it." Because Tigh— you were losing something and gaining something. You were losing something in that he is the most human of all the characters other than Gaius Baltar, in my opinion, because he's the alcoholic. He's so deeply flawed, he had killed his wife, he lost an eye, he had suffered so tremendously, and had such a human connection to Adama, that if you turn him into a Cylon, you lost part of that. But at the same time, you gain this enormous thing because it was those very things that made it an amazing revelation to feel the—
Woman: It is, in a way, where the season two questions: "but what about?"—
RDM: —"but what about?"—
Woman: What ha— how has this happened all along?
RDM: And—
Other woman: I like that there was a personal choice based on themselves, versus where Sharon, where her choice to conform, or to integrate, how to deal with her child, these are four people who had a look at each other and make a snap decision right then and there. Do we— what are we su— do we do what we're programmed to do, or do we do what we feel we should do, considering we just woke up from being sleepers.
RDM: And that's an important point, because it was also— it was very important in the show to say that these four don't know what this means. All they know at this moment is that, like Tyrol said, a switch goes off and they just have an innate knowledge that they are Cylons. And they don't know what it means, and they don't know what their agenda is, and they don't know what they're supposed to do, and they have that moment to figure out how they're gonna react to this knowledge that they just have, and what do they do. And Tigh's immediate reaction is "I don't care, I'm Saul Tigh, and I'll be that man until the day I die." And Tyrol's a little bit more lost, and Anders is just angry, and Tory isn't quite sure which way she's gonna jump. But to answer your question, we did talk, in the writers' room, at length about the backstories of everybody, and we do have a backstory that works for Saul Tigh, and how this all works, and in (unintelligible) everything that we did. And we s— we angsted long and hard about making sure that this all did make sense in the mythos of the show, and how it all makes a certain sense. [19:05]I can tell you only that they are different Cylons than the other Cylons. And we have built that over the course of the third season, that the Final Five were not like the [19:14]Significant Seven, as we call them in-house—
(Laughing)
Man: One kind of alien species versus another thing?
RDM: Not— well, I can't get— it's— this is a frustrating conversation in a certain way, because I have to preserve a lot of this for Season Three [Four], and we're working out those storylines, so I can only tell you that they are different, and the differences will be part of their journey of self-discovery. What does it mean to be a Cylon—?
Man: What's the (unintelligible) of—
RDM: Yeah, what is it all about.
Other man: There's been a (unintelligible) regarding ambiguity on the relation and difference between humans and Cylons, and between recent and ancient history, so I'm glad to see that that is still— I felt like this just played that out, and we're getting more from that.
All Along the Watchtower
Another man: I gotta ask: why "All Along the Watchtower"?—
(Laughing)
RDM: Yes, well, that's a long story. "All Along the Watchtower" has been a personal obsession for a while. When I was working on a show called Roswell, I had an episode that I wanted to do entirely about "All Along the Watchtower", that all the aliens that were on Roswell had a significance to "All Along the Watchtower", and I wanted to bring in five or ten different people to come in and play different versions of "All Along the Watchtower" for a plotline— it was a plotline that took place entirely in a music studio, and there was meaning within the song, and blah blah blah, and at the end I wanted a cameo for Bob Dylan showing up and saying "It doesn't mean anything, it's just song, man."
(Laughing)
Woman: Bob Dylan's the last Cylon.
RDM: Yeah, Bob Dylan's the last—
(Louder laughing)
RDM: And then that stuck with me, and I've— as early as Season One, I wanted to use "All Along the Watchtower" playing in a jukebox, in the background, not in the familiar Hendrix version, but just a Galactica version of "Watchtower", as a way of saying to the audience that there is a tie between this show and our reality. That, essentially— y'know, you've heard a say, over and over again throughout the series, that "all this has happened before, and all of it will happen again", and there's a sense of— the cycle of time, that certain of these events are preordained, and that there's a cycle, there's truly a cycle. If you remember, in the episode "Flesh and Bone" in Season One, Leoben, the Cylon, is talking to Kara and he says that "there's a cycle of time. And maybe the next time through the cycle, I'll be the interrogator and you'll be the prisoner", and that the story is the same, but the players swap positions. And the idea that there was a song or verse that transcended that cycle, that certain things repeated themselves— I mean why do they wear ties, why do they speak English, why are there certain phrases— there are phrases from Shakespeare sprinkled throughout the series. And there's a certain idea that all these things repeat themselves in certain ways for certain reasons, and so I wanted to use "All Along the Watchtower", something that would grab the audience to go: "Wait a minute, how the fuck could that be?! How could they possibly know what that is? Does that mean the show takes place in the distant future? Does it take place in the distant past? And what are the connections of that?" So it is a clue towards the larger explanation of what Galactica says the cosmology is, and so it's—
Hybrid children
Woman: [22:25]Will the Chief's child run like a parallel frame that Sharon and Helo's child's gonna run? Because—
RDM: It is different than— Nicholas's story is different than Hera's, but closely related, yes. [22:41]But yes, Nicholas is also a half— Hybrid child.
Earth
Woman: Of course we're all dying to know, when they get to Earth, what they're gonna find. Are they gonna find our world, are they gonna—
RDM: That's an interesting question, now, isn't it?
(Laughter)
RDM: On to the next question.
Woman: I don't expect you—
RDM: I can't give that away—
Woman: Of course not, but—
RDM: —because that about— yes, ultimately, the show is about what they find when they get to Earth.
Man: A way to put that ques— as a question, actually, is: when— even, when did you start forming your idea, (unintelligible) in the lifespan of the show, of what Earth would actually be in this.
RDM: A couple of years ago. When I started the series, I didn't really know what the end of the show was, but as the ser— over the course of Season One I started to develop this idea of the cycle of time, and "all this has happened before, and all of it will happen again", which is the first line of the Disney version of Peter Pan (laughter), (unintelligible) wonder. And (unintelligible) comes on and says "now, all of this has happened before, and all of this has happened again— will happen again, but this time it happened in London, and dah-dah-dah-dah-dah-dah."
(Laughter)
Woman: Sounds like it's really (unintelligible) that we saw North America, and not Asia or Australia—
RDM: That's because this show is about Americans—
(Loud laughter)
RDM: —and if you— if I showed you Africa, you know how many members of the audience would not even recognize this planet?
(Laughs)
RDM: That is completely out of the country.
Woman: That's so sad—
RDM: That is sad, but that is how to do American television.
Woman: I taught freshman history, I know the (unintelligible).
RDM: You know what I thought for a moment? For a while, I thought "You know what, when we go to Earth in that final shot, we should not just see the tip of Africa (unintelligible) upside down, in the orientation that we normally see. If you look at that, you have no idea what you're (unintelligible)." And I needed it to read immediately, 'cause it's less than two seconds on the screen, you needed to just know (snaps) that's Earth. And that's the quickest way to tell, our folks here in North America where we are.
Writing "Crossroads, Part II"
Man: You said that the four of the final five— they wake up and they don't know what their agenda is, they don't know what's going on. How much of that have you already broken?
RDM: At this moment as we speak, we've broken quite a bit of it. Because the writers have been in the writing— in the writers' room for a while, for several weeks, and we've talked at length about, OK, what is the course of the fourth season, where are we going ultimately, what's the series about, what's the end of the show? We've—
Man: How much did you break when you were writing this episode?
RDM: Well when we— this episode went through quite a transition, we— it was all about the trial of Gaius Baltar, then as I said, I was in the room, we were breaking the show, and we came about the trial of Gaius Baltar and the revelation of the final four. When it got to draft teleplay, it was a lot like this, but there was a whole other story that had to do with the Sagittarons, and a long plotline that we'd developed over the course of the sec— the third season that had to do with the Saggitaron colony and their people. And actually, Baltar was involved in a massacre on New Caprica, involving the Saggitarons, and— a long, intricate thing. And it just wasn't working. And when I— in some episodes more than others, I take a pass at the final draft myself, and on this one, on the finale, I took a pass at it, and as I was writing it, I just said "You know what, the Saggitaron thing doesn't work." And I just tossed it, which meant we had to go back and reedit subseq— the earlier episodes and reshoot some things to edit all that out. And I just windowed it down to— closer to what this was. The things that were added in my pass at the very end were things like Laura getting cancer, "Watchtower" was in it, but actually, I think in Michael Taylor's draft of the fir— of "Crossroads, Part I", in the teaser Michael was actually intercutting them at Woodstock—
(Laughter)
RDM: —which I— which was not something that we broke. It was completely insane, and I loved it when I read it, because, as a showrunner I'm one of those guys that loves it when my writers come back and give me something that surprises me in the read. And as I was reading it, it was like cut to— close on Tigh, sitting in the grass, and pull back and he's at Woodstock. (Laughter) And I was just like: "Oh that's so fucking great, but I don't know what it means."
(Laughter)
RDM: It was just so— OK, I tossed it out because because it was unproducible, and I didn't know how to make sense of it. But there were various rifts along the way. The teaser of this episode was not the teaser originally. In— "Crossroads, Part I" actually ended at the point where Laura said "I have cancer", that was the out of part one. And everything that was in Act 4 of part one was actually the beginning of part two. But both episodes were really long, part two was 20 minutes over, part one was 10 minutes over, and we had a lot of footage to have to play around with and figure out, and I opted to just pull up more of "Crossroads, Part II" and play that more strongly into part one, to say more the material for the episode.