Podcast:Unvanquished
| "Unvanquished" Podcast | ||
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| [[Image:{{{image}}}|200px|Unvanquished]] | ||
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| This podcast hasn't been fully transcribed yet | ||
| This podcast hasn't been verified yet | ||
| Posted on: | 2010-10-19 | |
| Transcribed by: | DrWho42 | |
| Verified by: | ||
| Length of Podcast: | 41:17 | |
| Speaker(s) | ||
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Ronald D. Moore | |
| Terry Dresbach | ||
| Comedy Elements | ||
| Scotch: | ||
| Smokes: | ||
| Word of the Week: | ||
| Legal Notice | ||
| All contents are believed to be copyright by the speakers. Contents of this article may not be used under the Creative Commons license. This transcript is intended for nonprofit educational purposes. We believe that this falls under the scope of fair use. If the copyright holder objects to this use, please contact the transcriber(s) or site administrator Joe Beaudoin Jr. To view all the podcasts that have been transcribed, see the podcast project page. | ||
David Eick: Hello! Welcome to the Episode 110 Podcast for the episode entitled "Unvanquished". You're here with a motley crew this time. You have David Eick, executive producer. And?
Eric Stoltz: Eric Stoltz, the director. And?
Tom Lieber: Tom Lieber, director and development for Universal. And? My mom.
Eick: Tom's mom.
Stoltz: Eileen.
Eick: And why not? This was- I'll say this because it might seem unseemly for Eric to say it I feel like this is probably one of the most stylistically interesting and compelling directed episodes of the season. It's really unique I think for those of you who are students of the form of the craft of directing. You're going to see a lot moves and a lot of telltale signs of the director who's really interested in visual storytelling. There's a lot of great directors in television of course but I find that all too often they can forget that movies and television is a visual medium. That you tell stories with pictures as much as or if not more than you do with words. And I think Eric has a unique talent for that and I'm really grateful that you directed this episode and I can't wait for you to direct more.
Stoltz: What you can't see is I'm slipping David Eick lots of twenties right now. *loud whisper* Talk me up!
Lieber: What's it like directing yourself?
Stoltz: Uh! Difficult! I never come out of my trailer. I wouldn't know my lines. I actually relied a great deal on my co-stars on Paula Malcomson and Esai. Anyone I was in a scene with. Originally you know I think you guys told me "Oh you'll be very light in the episode you're directing!" Of course I get the script and it's monologues! And so I relied a great deal on my fellow actors when I was in a set.
Eick: Now did you have playback on the set? Were you able to go back after takes and look at?
Stoltz: I did have playback but I don't enjoy playback unless it's a stunt or an effect or-
Eick: Why is that?
Stoltz: Because you get lost and you forget about the moment. Anyway. This is starting here. This was the birth of a Cylon and originally there was no voiceover on it. We added all sorts of animal sounds. My editor Tim Kinzy and I slowed down a whale and all kinds of bird sounds to give the Cylons an eerie otherworldly birth if you will. Pulling back onto John Pyper-Ferguson, a wonderful actor.
Eick: We should mention that the sequence of that Cylon being assembled was a little experiment that one of the assistants in visual effects did on his own time.
Stoltz: Are you kidding me?
Eick: And we saw it and it was so amazing that we paid to have it finished in a photo-reel way and use it in the episode. But it was purely on his own accord he did that.
Stoltz: Wow! That's-
Eick: That's the advantage of having innovative visual effects artists who work for the show and not a "house" that you go to.
Stoltz: That's also the advantage of how this show is run. This show is run in a very open way. I remember on the first or second episode we were singing the national anthem and Paula and I turned to each other and said "We should do some sort of salute." Should we put the hand over heart? Or the hand in the air like the Nazis. And we came up with the crossing. Jonas said "Let's use it!" And it became a part of the show. It's not a closed creative experience.