Caprica 01x11 - Retribution

Пять утра это всё-таки издевательство, ладно БСГ, но ради Каприки я оказывается, встать в такое время не способна. Так что до серии добралась поздно.

Начну с конца, почему мне кажется, что Барнабаса мы ещё имеем шанс увидеть? Насчёт Клариссы я вообще не сомневаюсь. Была у меня было надежда, что Аманда вспомнила, что головой можно думать, когда она Клариссе про разговор с агентом GDD не рассказала, но это я зря. Посидит с Клариссой, якобы всё у неё выяснит, ещё и проникнется небось её идеями. А что, Кларисса для неё хорошая, заодно повод о Зои начать хорошо думать.
Что странно, я была в прошлой серии уверена, что Аманду считают мёртовой. Дэниел так её поставил в один ряд с потерянной им Зои в разговоре с Гаутрау. А нет, оказывается, все знают, что она жива. Это непринципиально, но люблю же я в заблуждение ввестись.
К баранам в виде Клариссы. По-моему, её уже начинает нести. Или это у меня осталось такое впечатление от неумело состряпанной Геминонской лжи и разговора с агентом GDD, которого я обязательно выучу когда-нибудь как зовут. Такое чувство, что её совершенно не волнует поверят ей или нет. То ли знает, что с благословением Матери её никто не сможет тронуть, то ли ничего не знает, но уверена в собственной неуязвимости. И слёзы по ей же убитым бывшим ученикам. Мне после высказывания о том, что они не с теми людьми связались показалось, что она на Барнабаса их убийства повесила. А сама она так, орудие господне, видимо.
Вот Лейси ей убивать не придётся. Девочке так хочется что-то значить и куда-то принадлежать, что ей что Кларисса, что Барнабас, по-моему. А что, неумело и бестолково, но взрывать людей она уже пошла. Ну а не поймали бы её вовремя? Опять же, вернулась, прибежала обратно, вместо того что бы ужаснуться почти сделанному и бежать прочь.
Вот ужаснуться решил почему-то Дэниел. На шантаже бывших коллег у него почти проснулась совесть. На мой взгляд странно, и по времени и сам факт, что он значит, рассчитывал связаться с мафией и не замараться? Впрочем, логика у Дэниела почти как у его жены. Шантаж вообще странный в том плане, что про то, как он откупался от девочек рассказывает Дэниел, а папку с досье ему подаёт Адама. Это такой спецэффект? Впрочем, мне гораздо интереснее, из-за чего всё-таки тот член совета директоров застрелился. Потому что испугался, что сделает Вирджис, когда Грейстоун вернётся, или из-за того, что сделает Грейстоун, когда вернётся? Учитывая, куда его жена побежала... Впрочем, не факт, что она только к Дэниелу побежала. Но это мне интересно, Дэниелу - не похоже.

P.S. Люди в голо-обручах сидят на улице за столиками кафе. Никто не подойдёт и не обкрадёт или они всё-таки реальность до какой-то степени воспринимают?
P.P.S. Натали, пара кадров по культуре:

@темы: Caprica, мысли вслух

---

Caprica 01x10 - Unvanquished

Подкаст к десятой серии. Дэвид Эйк как всегда, с ним Эрик Штолц - Дэниел Грейстоун и режиссёр серии, а так же Том Ли Бёрд из Юнивёрсал и его мама. Последняя там сидела молча, предпоследний тоже не особо разговорчив.

- Начинается всё привычно с похвалы, Эйк рассказывает, какая серия получилось по визуальному подходу красивая, какой Эрик Штолц хороший режиссёр. Что многие забывают, что сериалы и кино это рассказ истории с помощью картинок не меньше, если не больше, чем с помощью слов. А Штолц в этом плане молодец, и Эйк надееется, что это не последняя серия, которую он режиссирует. (Штолц: Чего вы не видите, так это как я даю ему сейчас кучу двадцаток) Дальше Штолц смеётся, что самого себя снимать очень неудобно, постоянно проблемы с выученной ролью, одни только партнёры и спасают. И вообще ему обещали, что в этой серии его будет мало. А потом дали почитать сценарий и количество в нём монологов.
- В сцене "рождения сайлона" изначально не было войсовера, звуковым фоном туда наложили замедленного кита и птиц, что бы создать потустороннюю атмосферу. А сама сцена вообще была придумана и сделана одним из специалистов по спецэффектам в свободное время, по собственной инициативе. Эйк и компания её углядели, оценили и заплатили за то, что бы её доделали и доработали.
- Дальше Штолц рассказывает, как хорошо, когда сериал снимается так, что все в процессе участвуют. Вот, например, во второй серии снимали колониальный гимн на стадионе, и они с Полой (Аманда) размышляли, что надо бы как-то на него отреагировать. Придумали перекрестить руки. Это всем понравилось, и жест так и использовали. Эйк добавляет, что вот поэтому Грейстоуна так много в серии и оказалось, хотя обещали совсем иное. Просто если появляется хорошая идея, то они её используют, не обязательно глядя на то, что изначально планировалось что-то совсем иное.
- Геминон описывают как "Египет встречается с Египтом встречается с Аляской". Отправной точкой для дизайна было сделать его непохожим на Каприку. Что бы зрители могли визуально понять, что они уже не на Каприке. Вообще канал настаивал, что бы мир Каприки расширили, включив в него другие планеты, и нам это во второй половине сезона обещают, но при этом они одну только Каприку долго и трудно придумывали. А тут нужно несколько разных планет сделать. Но в визуальных эффектах там чудесные люди работают. И даже денег им на это дополнительно дали.
- За деньги отдельное спасибо Кевину Мёрфи, который к ним с этой серии пришёл. Очень умный человек, с античностью хорошо знакомый. Смеются, что у него в активе мюзикл "Reefer Madness" (про то, куда может зайти борьба с марихуаной) и "Отчаянные Домохозяйки" - сочетание просто кричащее "Каприка".
- Штолц вспоминает, что что бы сделать поворот камеры на 360 градусов нужно за неделю предупреждать и просить технику. Однако по его мнению показать пьяного лучше чем вверх ногами нельзя, поэтому сцену он задумал и снял.
- Машина, в которой Грейстоун едет, это на самом деле Роллс-Ройс, но так как их на Каприке нет, то её потом подредактировали. Например, полосы на радиаторе не вертикальные, а горизонтальные. А вообще всю эту сцену с поездкой сняли на зеркальную камеру, которую можно купить в обычном магазине, и которую только что купил Стивен МакНатт и которую принёс на съёмочную площадку похвастаться. В итоге вместо обычных двух-трёх часов сцену сняли за двадцать минут. Монолог, который идёт войсовером, Штолц вытащил из какой-то ранней версии сценария, в поздней его уже не осталось.
- Играющий Гуатрау актёр - Jorge Montesi (фамилию они сами не решились произнести), большей части актёров знаком как режиссёр. Говорят, что в жизни от него ощущение примерно такое же, как от Гуатрау - то ли убьёт, то ли чай предложит. Но очень милый человек.
- Штолц смеётся, что курение в сериале очень для актёров неудобно, потому что в жизни никто из них не курит. И для съёмок им выдают специальные сигареты с травами и приправами, запах от которых хуже, чем от настоящих.
- Meg Tilly для роли Матери вытащили "с пенсии", она нигде не снималась с 1995 года, решив карьеру закончить. А тут ей позвонили и спросили, не хочет ли она сняться в Каприке. И она согласилась. Причём выяснилось, что с большой частью съёмочной команды они знакомы со школьных времён. Причём актриса оказалась из тех, кто вдаётся в детали, вспоминают, что она задавала такие вопросы во время репетиции, о которых никто даже и не думал.
- В сценах в комнате Матери сплошной зелёный экран. Единственное, что там есть, это стол, стулья, перила и камин. И актёры. А вот вид из окна дома Грейстоуна - нарисован. Когда первый раз его увидели, Эйк решил, что всё пропало. А потом включили освещение и оказалось, что всё очень даже красиво и работает.
- Сцену, когда Джозеф предлагает Дэниелу нажать на кнопку и убить свою мать, очень много кромсали и переделывали. Это было связано с тем, что канал посчитал, что не ясно, что же там происходит и нужно конкретнее показать, что это был блеф. Эйк и компания посчитали, что то, что им предложил канал снимать вообще нельзя, поэтому начали искать золотую середину. Результат особо их не устроил, но лучше, чем от них хотели.
- Ryan Robbins - Диего - играет уже третьего персонажа в этом мире. Сначала он появился в БСГ в минисериях, офицером "которого целует Шестёрка", потом его после сомнений и дебатов пригласили на роль одного из бойцов Сопротивления, ибо понравился актёр. И теперь по тем же соображениям, что актёр хороший, а Ванкувер маленький, его взяли в Каприку.
- А дом Гаутрау это та же самая декорация, где в БСГ снимали Ферму.
- Сайрус в пилоте был прописан как 18-19 летний компьютерный гений, но Штолц убедил его сделать постарше. И теперь восхищается актёром и тем, что так до конца и не ясно, Сайрус Вирджиса поддерживает или же всё-таки нет. 18-19 летний компьютерный гений в итоге всё-таки появился отдельно, но его быстро убили.
- С Амандой Дэниел по сценарию общался по телефону, но разговаривающих по телефону персонажей Штолц не любит, поэтому он решил добавить туда ещё и картинку. Эйк добавляет, что постфактум их за эту сцену разругали, ибо недостаточно каприканский лаптоп.
- Обсуждают сцену на Геминоне, Эйк придирается, что всё хорошо, стилистически и красиво, но при том, что там явно холодно, почему-то не видно дыхания актёров. Штолц соглашается, что было бы здорово, он этот вопрос обсуждал, но ему сказали, что денег ни всё заморозить ни потом дорисовать нет.
- Когда первый раз снимали разговор Дэниела и Сайруса на балконе, то после "Снято" на балкон пришла Пола (Аманда) и начала Хиро (Сайрус) объяснять, что он стоит на балконе самого красивого дома в мире, поэтому он должен стоять и наслаждаться видом. Сняли ещё раз.
- В сцене убийства опять сплошной зелёный экран, за исключением колонн и актёров. Вообще, для правдоподобных спец-эффектов такого рода нужно обязательно иметь на переднем плане что-то настоящее, под что будет подстраиваться компьютерная графика. Если рисовать вообще всё, то глаз обязательно за что-то зацепится. А колонны или им подобное помогают бесшовности иллюзии.
- Штолц рассказывает Эйку, что же там Матерь сжигает, а то тот так и не знал. Оказывается, письма от убитого Обала. У неё на столе стоит коробка, где их личная переписка хранилась. Это она их отношения хоронит.
- На деле у Грейстоуна и Клариссы совместной сцены не будет серии до семнадцатой. А в оригинальном-оригинальном пилоте Кларисса была бывшей девушкой Дэниела. Тогда же предполагалось, что у неё будет что-то с Амандой, создавая такой вот треугольник отношений. Эйк смеётся, что поскольку Кларисса с Дэниелом ещё не встречались, пока не поздно к этой идее вернуться.
- Изначально битва Зои в В-мире задумывалась Штольцем только под музыку Чайковского, звуковые эффекты и звуки должны были появиться только вместе с пистолетом. Некоторое подобие отсылки к БСГ, где этот приём использовался. Но потом звуки всё-таки наложили, хотя и не так много, как сделали бы обычно.
- Актёр, с которым дерётся в В-мире Зои, изначально пришёл на прослушивание на роль Диего, оказался слишком молод, но получил всё-таки себе другую роль.
- Сказали, что Алессандра (Зои) обладательница чёрного пояса по тэквондо, что они, когда узнали, хотели использовать в сериале, но вот не уточнили, сама она всю сцену играла или нет.

@темы: Caprica, подкаст

---

Caprica 01x10 - Unvanquished

Мой торрент вспомнил, что Каприка из тех сериалов, которые он старается как можно дольше качать, а я забыла, что не спать ночами нужно теперь со вторника на среду. Так что до десятой серии добралась поздно. Нужно исправляться

Но начали, конечно, красиво. Пока я Клариссу не увидела, даже поверила, что действительно ещё один взрыв решили устроить. Выяснилось, что они решили, но не сейчас ещё. Взамен показали холодный Геминон. Определять статус людей по наличию в доме отопления в такую погоду всё-таки жестоко.
Вот только Благословенной Матерью я пока как-то не прониклась. Может, конечно, она актриса хорошая, но вот не показалась мне именно главой церкви. С другой стороны, она ещё живая и во главе, а пытающийся командовать человек, чьего-то имени я не запомнила, достоверно изобразил Цезаря на ступенях сената. А не надо было Клариссу недооценивать, я вообще начинаю ждать переворота в церкви. Умные фанатики - страшная сила.
А так я жду её столкновения с Барнабасом, который просто обязан не оценить новоприобретённые полномочия. Ибо тоже фанатик, только иначе. Ещё меня в этом плане пугает Лейси. Как бы не пошла она по пути Барнабаса, по принципу "всё остальное всё равно провалилось".
Грейстоун вон от отчаянья пошёл с тауронской мафией сделку заключать. Причём обе стороны ждут друг от друга, что их попытаются использовать и кинуть. Поскольку наивными мне их назвать сложно, полагаю, каждый надеется успеть первым. Но вообще Грейстоун велик, ничего не скажу. Ну да, аватары это вовсе не люди, а всего лишь лекарство от боли. У меня такое чувство, что его восприятие меняется не из-за получения новой информации, а соответственно тому, что нужно по обстоятельствам. Хочется дочку - это Зои, хочется роботов - это будет послушная новая раса, теперь вот тамагочи захотелось.
И Джозефа с Сэмом в это втянули. Если Сэм идеальный образчик молчаливого мафиози, то с Джозефом не понятно. Вроде как и не хотел он, что бы Грейстоун соглашался, но то ли Halatha боится, то ли ещё что-то, однако неубедительно не хотел. В общем Адам я хочу побольше, а то я так и не поняла, что случилось с ними за эти три недели, кроме того, что вроде встреча с Тамарой оказалась убедительной, но на каприканец-тауронец его всё ещё ловят.
Тамару не показали, зато показали, что она ходит по New Cap Сiti и зачем-то метит людей и то, что под руку подвернётся. Тесен виртуальный мир, теперь по тому же городу ходит изменившаяся на мой взгляд Зои и ищет встречи. Со своими способностями а-ля Матрица, девочка, освоилась, кстати хорошо. Странно, что окружающие знают, что существуют такие неубиваемые, но не боятся того, на что они способны. Или это попадались излишне самоуверенные экземпляры? После встречи с Тамарой? В общем хочу я встречу двух девушек, а то я в их логике совсем запуталась.
Да, а ещё из неубиваемых в реальном мире - Аманда, кто бы сомневался. Живёт вместе с Клариссой, страдает по переписке вместе с Грейстоуном и считается мёртвой. Ничего не понятно кроме того, что ничего хорошего я от неё не жду.

P.S. Так вот кто центурионов тостерами первый назвал
P.P.S. У идеи всем переселиться в виртуальный мир есть один большой минус - а за серверами кто смотреть будет?

@темы: Caprica, мысли вслух

---

The Lowdown

Краткое содержание предыдущих серий - Что бы я ещё когда-нибудь! На самом деле время было затрачено даже с некоторой пользой, ибо я уяснила, что языком всё-таки не владею и на слух его не воспринимаю, но тем не менее.

Помимо всего прочего, само видео должно, если всё делать правильно, идти после минисерий и перед первым сезоном, но об этом я благополучно забыла.

The Lowdown (extended)

Edward James Olmos: The difference between this look and the look they did in 1978… there is no difference in the story, the story is the same.

James Callis: It left a big mark on everybody, who ever saw it. If you ever say Battlestar Galactica, they know it.

Ronald D. Moore: When I sat down and re-watched the original Galactica pilot, I became even more convinced, that there was something really powerful here.

Richard Hatch: This was a show about people, this was a show about family, and it had a chemistry between those characters, that people loved.

Jamie Bamber: I was a huge fan. Everyone in my age, every kid, every boy anyway, watched it. I was really into it. The viper shooting into this triangular tunnels…

Aaron Duglas: Original planes from the original Battlestar Galactica. I was so geeked up.

Katee Sakhoff: I’m really exited about playing Starbuck. I think that the role is amazing. Even with the supposed “controversy” over her.

Tricia Helfer: I think, Starbuck would give number Six a run for her money. But seeing that the cylons can’t really be killed, I might just come back as another Number Six.

Ronald D. Moore: The first thing that I did when approaching the material was to say “let’s shoot this differently”

Michael Rymer: Every other effects-movie is getting more and more un-real, fantasy like. We just wanted to go the other way.

Edward James Olmos: It’s beautiful. The artistic endeavor is beautiful.

James Callis: I remember that’s why I thought Battlestar was so different. Why there was an edge to it. Because you are talking about the genocide of the race.

Edward James Olmos: You are going to hear and see a classic story. In a whole new way.

James Callis: You think you know Battlestar Galactica? You ain’t seen nothing yet.

Ronald D. Moore: Here was Battlestar Galctica which, if nothing else, was one of the biggest, glossiest, over-the-top productions that the seventies produced. You know, after Star Wars came out, it was like “OK, let’s get one of those”, says ABC TV. And they get Battlestar Galactica.

Richard Hatch: Back in 1979 doing Battlestar Galactica… It was an extraordinary experience, because nobody was prepared to walk on the set, see these incredible sets created for this show. And for the moment I stepped on the set, I thought, Oh my God, you know, whatever I stepped into here.

Ronald D. Moore: The origins of the cylons are… They are mechanistic, they look like walking toasters as they say, they are chrome, you know, they have the red eye. They are the icon of the old show.

David Eick: Battlestar Galactica was rarity in that it was a very popular title, that not a lot of people actually saw. It was only on the air for one season. And yet it had this amazing media and marketing blitz, with launch boxes and T-shirts. So everyone was sort of vaguely aware of this thing, called Battlestar Galactica.

Richard Hatch:We had so many challenges in order to just get the technical aspects of that down. To be able to finish shows in time, to air them each week. Which is really the number one reason, why the show went off the air.

Ronald D. Moore: I was just coming off of another sci-fi genre and I’d done many years on Star Trek and didn’t quite know if I wanted to go back into it. But as I thought about it, I realized that Galactica was sort of right to be re-made. It was a big title. It was an opportunity for me to do some things in science-fiction that had been bubbling around in my head for quite a while.

David Eick: Very seldom has a remake of a television title succeeded. It’s hard to find an example of remake that has worked. And so in many respects you say the smart thing to do is to establish a relationship with a fan-base. Because you want to build from that base. And on the other hand the nature of this now is to create the new audience for this title. So yeah, we are trying to have it both ways.

James Callis: You are talking about the genocide of the race of people. And you can’t get away from that. And that is the dark thing that is all over this show. Millions of people have been cashiered.

Ronald D. Moore: I You watch that today, in a post 9-11 world, it hits you very differently than it did in 1979.
One of the things I wanted to do in the genre, in the space opera was to take it down from the more theatrical elements, to not go to the sort of larger than life hyper-real qualities, that you get in the Star Wars or Star Trek. But to really make it an honest piece. To make it more of a drama and less of a science-fiction piece. Put real human characters in a real situation in a science fiction context.

Jamie Bamber: My initial reaction, when I read the Battlestar Galactica sсript and when I came across the whole idea was… I had sort of… I’m remake atheist I guess. In my mind it’s sort of a stigma of having already existed, of having already been successful. I’m never sure why people remake things if it’s already been done. So… But then it completely dissipated as soon as I read this sсript.

Grace Park: You ever were one of those kinds who sat there watching Battlestar, like in the old day?
Aaron Duglas: Loved it. Loved it!
Grace Park: And then now you are doing it. Like…
Aaron Duglas: Yeah.
Grace Park: How is that… Does it blow your mind? What is it like for you?
Aaron Duglas: It totally blows my mind. ‘Cause I never would have imagined, that I would have an opportunity to be a part of this. And in such a significant role. And it’s such a treat. It’s amazing. It’s totally amazing. On one hand it’s amazing, on the other hand it’s a kind of a…I’m bit of a purist guy.

Ronald D. Moore: One of biggest changes that I’d decided was necessary to tell the show was the back-story of the cylons. If we said that the cylons had started like that, like the mechanistic more armor-plated ones, and evolved on their own to look like human beings… We save ourselves all this production problems. It also becomes a more interesting, sort of philosophical show. We also say that they were created by humanity and that’s coming back to byte them in the ass.

Tricia Helfer: We wanted to actually have people like her. She is mostly responsible for killing off 12 billion people. But she is falling in love with Gaius Baltar. And you want to have some sympathy towards her. And the fact is she doesn’t really know she is humanoid cylon.

Ronald D. Moore: On a much smaller scale one of the key changes, which was also one of the first things I’d thought of was to change Starbuck to a woman.

Katee Sackhoff: Hi, I’m Katee Sackhoff from Battlestar Galactica. I play Starbuck. Deal with it.

Ronald D. Moore: You make Starbuck a woman. And you give her a lot of the same attributes. It’s different. You haven’t seen this relationship before. Especially preserving them as fighter pilots.

Katee Sackhoff: My first experience.. the controversy and anger about Starbuck being changed into a woman. I kind of welcomed it, because it gave me something to work for.

Richard Hatch: My thought of it is with this show… I think one of the biggest mistakes, that I could say from the outside, changing Starbuck and Boomer into women. And the reason why? Women are very important. Women have changed and evolved, and our way of looking at women has changed. Those are all positive things. The key is, when you take two of the most popular characters in the show and change them into women, you’ve changed the whole character completely.

James Callis: I think that the whole idea was they are actually [?]american now. They are women fighter pilots. So if we got women fighter pilots in the twentieth century, why should women be not involved in every [?] of a battleship? They… You know, it’s not like anybody is less able.

Richard Hatch: There is no question. I mean, Ron Moore is a very talented writer, producer, he’s put together a wonderful cast. Obviously he wanted to go into some of the darker conflicted areas with the characters. To get more into the premise of the story, the struggle to survive in space, the struggle to deal with each other. I think this are all elements that we would have gone into in our second year. But obviously we didn’t have a second year. I think those are good things to do, a good direction to go in. I think is with the sci-fi classic you have to walk a fine line.

Michael Rymer: I’ve seen many versions of Romeo&Juliet. Which are, you know, incredibly inventive and go off the page. And do all sorts of things. And that’s usually… And you know Shakespeare is the greatest writer in the history of the human race. And no one seems to have a problem with that.

Ronald D. Moore: I think that this is a good piece of work. I think it’s a good sсript. I think it was well produced, it was well acted. I think the visual effects are outstanding. And I think that’s going to be good. And I think that people that refuse to watch it simply because it’s different are doing themselves a disservice.

Edward James Olmos: You can only hope that people will get their act together and do it right. But [?] the stuff that I’ve seen have been breathtaking. And really does put you inside of that world.

Edward James Olmos: Commander Adama in this new version of Battlestar Galactica is a person who is getting ready to retire, even though he finds it difficult.

Jamie Bamber: Well, first of all, the thing about Eddie is he’s got tremendous presence and charisma. I was initially intimidated by him. Which is exactly what the character really is.

James Callis: He is, you know, he is a tough guy. He is also, you know, he is a brilliant actor. Everything he does is powerful and he’s kind of a… you’ve just got to watch him.

Edward James Olmos: When the story starts it’s been a lot of time since I’ve seen my son. Since the death of my youngest son. He hasn’t talked to me. He blames me for Zak’s death, so we have nothing to speak about. And it comes out as soon as we meet for the first time. He throws it in my face again and we have it out. And as far as I’m concerned, he’s wrong.

Jamie Bamber: My Apollo is different from the original one and that… He’s not the ultimate sort of heroic type, who always seems to act in the best interest of those around him. He’s actually [?] flawed character and he has huge relationship parental issues going on. And he doesn’t particularly like who he is ether.

Richard Hatch: Apollo was all in all a very passionate, very dedicated, very sincere human being who cared about his job. Cared about the people and cared about the quality of life. And was out there to do the right thing. I think he was truly one of those true-blue hero types.

Jamie Bamber: Hell, Apollo and his dad in his version have a, well, a few more issues perhaps than they did in the original. Apollo extensively holds his dad responsible for the death of his brother, because his brother should never have been really in the military in the first place. At least that’s what Apollo thinks.
He has this tremendously strong father figure. Who he has rebelled against and rejected because of the death of his brother. And as the result Apollo is questioning everything that his life has been about until then, which is this military career.

Katee Sackhoff: It’s a very very strong female character. And I’ve never got any chance to play a character that’s so sure of herself and her abilities at what she does. So… You know, it’s exiting.
The fight scene [with Tigh] was, I think, my finest day working. I was really exited about that day. Because I kind of… Whenever I doubted Starbuck strength I think up until that scene I’d look back to that scene or imagine what that scene would be like. And kind of draw from that. And use that to find how short-tempered she was.

Edward James Olmos: How tough is Starbuck? Probably as tough as any John Wayne movie I’ve ever seen. She’s tough. She’s tough and more than that, she’s good. She’s a really good pilot.

Katee Sackhoff: Starbuck is really…angry. And very much in her head a lot of the times. I thought that it was very interesting… to approach every situation… with a lot of confidence, and a lot of masculine energy. But to have an emotion of a woman behind it.

Edward James Olmos: Mary McDonnell plays the president of the existing world as we know it. She is extremely extremely palpable. She carries it very well. She is a great actress. Mary McDonnell is…a giant.

Mary McDonnell: I felt so in tune with the woman. It felt so familiar to me. Her… her issues of sort of slowly moving into power reluctantly or unconsciously perhaps. I’ve had this shifts occur in my life.

Edward James Olmos: Mary is able to take any punch thrown to her, she threw them back even harder.

Mary McDonnell: Part of what I’d experienced shooting it already though, was what is it for a woman to actually be in power. What is the true experience?

David Eick: We would say “You know, a Mary McDonnell type”. And it was really sort of surreal to find ourselves in a situation, where we were actually able to get her.

Mary McDonnell: They said “Well, we have this offer for you.” And they both [?] to see each other. And I said “OK, great. What is it?” And he said “Battlestar Galactica”. And I was stunned. So I took it home and kind of read it. And I was… I was blown away.

David Eick: You always hear people say “Oh, we wrote a part for you!” But in this case we really did, but only because we didn’t think we could get her. It was like, you know, what’s your dream cast. OK, Mary McDonnell. And now here we are with Mary McDonnell.

Dick Benedict: One of things is, I did audition for the new show. Even though I heard it was a girl, I still tried to get in.
Katee Sackhoff: You still did?
Dick Benedict: Yeah.
Katee Sackhoff: Yeah.
Dick Benedict: So you beat me out and I’m still here. I brought you an official Starbuck cigare.
Katee Sackhoff: Did you?
Dick Benedict: Yes, I did. There it is.
Katee Sackhoff: That is so cool.
Dick Benedict: Yes.
Katee Sackhoff: So, what was it like, to, you know, be the original? And have all this women love you?
Dick Benedict: Well, hopefully you won’t have that problem. You know, there is a lot of angry women out there. Because they liked me as that character.
Katee Sackhoff: They do. They… they still do. I guess, I’m just hoping that they’ll accept me as Starbuck.
Dick Benedict: Well, most of them [?]. We are both Starbucks.
Katee Sackhoff: My Starbuck…
Dick Benedict: Does this mean I can no longer call myself Starbuck? OK, OK, OK.
Katee Sackhoff: I’m gonna have to charge you.
My character hates authority. What about yours? Did your did too?
Dick Benedict: Actually, talking about authority, there are “no smoking” signs everywhere in this place. This meeting(?) is about to be over.
Katee Sackhoff: I need to get another job. Like, don’t get me arrested or anything[?]
Dick Benedict: I hated the viper stuff.
Katee Sackhoff: The viper stuff is the worst thing ever.
Dick Benedict: [?] a female Starbuck, you know, flying..
Katee Sackhoff: It will be fun. There is female Boomer too. There is a whole, yeah…
Dick Benedict: Are there any men in the show? Other than Jamie and Eddie? What is the deal…
Katee Sackhoff: Eddie is enough though. Eddie is just very masculine.
Dick Benedict: Eddie is man enough to [?] for one show
Katee Sackhoff: We have a bunch of women and a bunch of Englishmen. I don’t know what’s happening.
Dick Benedict: There will never be anybody competing with me.
Katee Sackhoff: No! No. You’ll always be…
Dick Benedict: I’ll no longer be the only Starbuck But!
Katee Sackhoff: You are the one and only male Starbuck!
Dick Benedict: Yeah. Yeah.
Katee Sackhoff: That’s good.
Dick Benedict: So, I guess, I can live with that. What can I say, if you ever get in over or you think you are getting in over your head, or you want some advice, you want some you know encouragement or free information. Off air I’ll give you my personal numbers and you can feel free to call me.
Katee Sackhoff: Oh, do it on air!

Richard Hudolin: The only things that we wanted to carry through were the Mark II ships. Everything else was off the window. We could do anything we wanted. We had this thought of man in a machine and man as part of the machine and that’s how this whole side is kind of gone. With the cylons being the overriding machine obviously.

Ronald D. Moore: Galactica is an aircraft carrier in space. OK, we’re going to treat her like an aircraft carrier in space. We are going to make it essentially a model of the British and US Navies from like 1945to 1960.

David Eick: There are two touchdowns, two reference points for us that led the way. And there were “Black Hawk Down” and “2001”. “2001” because it depicted space and space travel and space living in extraordinary realistic way. And “Black Hawk Down” because it created the idea of visceral warfare in a way that was so real, that it was striking even with very little plot.

There have been a lot of sci-fi spaceship stories done before. How do we do ours, so that we are not following all of the conventions, but still make it believable. Sort of like being a baseball pitcher. You are expecting something inside and tight and we give you something high and away.

James Callis: I remember the day when the whole cast were taken onto the CIC. And it was basically like a lot of kinds walking around Charlie’s Chocolate Factory. And you walked through all of these corridors. And they’ve just been built, but they looked like they have been there for like twenty years.

Jamie Bamber: A detail is mind-blowing at times. You could take a camera into a tinyest tinyest thing and blow it right up. And it all works.

Richard Hudolin: We were trying to achieve like a cathedral-like feeling throughout a whole film. And these sets… Some of the main sets like the hangar bay or control room where wall to wall and floor to ceiling. Literally.

Aaron Duglas: The hanger is in the soundstage that you could park like three to four DC-10s like side by side. It is huge, these sets.

Mary McDonnell: I tried to get off the Galactica. And I was completely lost. And it’s a bit of a maze.

Ronald D. Moore: First thing that I did when approaching the material was to say “Let’s shoot it differently. Let’s break the mole of how you present space-opera in television.”

David Eick: Well, we always thought that one of the ways we could reinvent the genre of space-opera was to err on the side of a scientific reality. And to try to create the impression, that what you are watching was really happening.

Ronald D. Moore: Let’s go [?] documentary style, “you are there”.

Michael Rymer: Most of the camera moves outside a handheld with, you know, snap zooms. Lenses of camera go there with the snap zoom.

Ronald D. Moore: More like a documentary crew of Discovery Channel showing you the story of Battlestar Galactica, then the Sci-Fi Channel.

David Eick: Things falling out of focus, losing the image, trying to re-find it and maintaining that reality in a digital universe is a challenge. Because suddenly if your eyes catches something that doesn’t look real it spoils the whole thing. And then you begin the process of analyzing every frame to see “what was it, that spoiled my reality”.

Richard Hudolin: Keeping with the non-convention no ships that you see have doors that aren’t on hinges. Assuming that this is an older style ship we decided to do that. We decided to go with the oldest [?], ‘cause we also were trying to tell the story that this ship was at the point that it was going to be mothball. It would be turned into museum. So you have to visually present in a way that age gap.

Ronald D. Moore: The Galactica is not the best of the fleet. It’s not the Enterprise. It’s not the Enterprise. It’s not the elite. It’s not like “we’re all the very best of humanity”. Galactica is just another ship. And it’s sort of an old ship. And it’s about to be decommissioned.

Richard Hudolin: The raptor was a lot of fun. It was a total, total new design. And if you look carefully it’s kind of based on an Apache helicopter. We wound up building all of it. Plus, we put a frame in it, so we could have a hundred foot stick-crane pull this thing up with actors in it and swing it around. Which… which [?] quite an eventful morning. ‘Cause the actors didn’t really believe it would go that high that fast and swing.

Jamie Bamber: The first thing that happened is the producer ran me up when I was in London and told me to lose ten pounds. The first thing that we did was to go off to boot camp for three days with a couple of former US marines. First sci-fi show I was… I sort of almost loved when they suggested boot camp.

Katee Sackhoff: Every character in a movie that was around a viper or flies a viper had to go to a boot camp. So there were like… I think there were like fifteen of us. There were moments where, you know, push-ups and grabble kind of got to you. But it wasn’t… I was already in such good shape by the time I got to boot camp, that it was pretty easy.

Aaron Duglas: They hired this technical advisor, ex US special forces army Ron Blecker, king of the world. He can kill a man with two fingers, twenty-seven different ways. Best guy you’ll ever meet.

Lee Stringer: It is kind of a surreal thing to be working on the show, because like most people I watched show when I was a kid and I had a little toy and I was flying a viper around when I was nine or ten, or whenever it was. And built a model kit of the Galactica, when I was a kid. And here I am building the CG model of a new Galactica.

Gary Hutzel: Normally the actors are completely in the dark. They are put in front of the blue screen and said “OK, fly this thing”. They look down and there is a blank console in front of them.

Lee Stringer: The main ship in the show is called the Viper Mark II. It’s the evolution from the original show. It still keeps the original configuration of the single pilot, with the three wings, with the three engines.

Gary Hutzel: The Galactica is no longer just the space ship. It’s a battle station in space. It has real guns that discharge explosive packages, that send shrapnel through the enemy vessels.
Cylon raider is now a much more sophisticated, more highly designed ship.

Lee Stringer: We still have the red light, you know the red eye [?], so the people will associate that.
The majority of cylons are now human looking. But in between the human lookin cylon and cylons we’ve seen in the original show there is the CG-cylon. One of the big differences you’ll see is in the hand, because the hands actually turn into their guns and the hand actually folds back into the arm and a gun falls back out.

Gary Hutzel: In taking the person out of the suit we put the person back into the suit. Which is we created a virtual creature, but now we are using actual live action motion.

Tricia Helfer: Yeah, there is a secret to reveal. Very early on in the miniseries, so I think people are gonna know. Something is up with my character. I knew it was happening, obviously, because I have a dots at where it was going to be added. But I think it’s… I think it’s going to be good.

Gary Hutzel: Part of this is a story point and a part of this is a design element. Which is that the centurions have evolved into human creatures. He has natural human motion, but with a whole robotic body.

Ronald D. Moore: In 1979 you could put guys in just the chrome and walk them around. And even in those suits they had to walk very slowly and bump into things. Today you couldn’t get away with that. The audience is more sophisticated, they have a higher expectation of what they want on screen.
It was never really explained, who they really were, in the original show. There was vague intimation that may be there were reptiles inside those chassis or something like that. In any case I didn’t feel that there was much to say on just sort of the… Well, here is this mechanistic evil empire that hates humanity for some reason. And they are just the bad guys. I didn’t find much interesting in that as a writer.

Jamie Bamber: Soon as I worked out from the sсript that cylons were no longer sort of robots, I really responded to the idea very well. I mean, I think it’s a very nice poetic device to have the cylons be man’s creation.
Eventually a cylons evolve and become independent. Become humanoid independent of man. And sort of emulate to overtake man’s place in the universe.

Tricia Helfer: Number Six is a humanoid cylon. So I’m evil. But it… She’s a lot of fun. She’s a great character. Not your typical evil kind of character. I didn’t want to have Number Six just be the typical robot. I wanted to make her a little bit different in some respect. Which is why, I think, we made her more sympathetic and vulnerable. Which is an eerie kind of quality about it. And I think… I think we pulled it off. She is kind of caught between two worlds on that respect.

Michael Rymer: I can help her with her acting, I can’t help someone else sexy. And, you know, Tricia has that quality, you know, to make men stupid. You know, on the set, everyday she’d be on the set, you know, all the men on the crew would just start behaving like idiots.

Tricia Helfer: It was great doing the Maxim. And luckily I got to work with the fantastic photographer Antoine Verglas who I’d worked with before as a model. Do I think Baltar would [?]? Yeah, I think he would. I think Balter would like these photographs. I hope they are going to be sexy and sweet and beautiful and all that stuff. So we’ll see, comes out in December. Same time as Battlestar.

James Callis: What do I remember about Baltar? Well, I remember John Colicos and I remember him as being, you know, one mean dude. Really evil. And a bit crazy. And the frightening, I think, is the word. Frightening. I kind of made a conscious decision that I didn’t really want to be the same way.
So what is Baltar about? He’s computer wizard, he’s a genius. He has a [?] for beautiful women. Which is actually finally his undoing. I think he’s a bit of a coward. I don’t think he’d like to get into a lot of physical contact.

Edward James Olmos: James Callis is one of the few actors in my career that had been able to make me laugh. In character. So that breaks character. I once… I just… I was on the floor, I was so happy. And I was very grateful, because he has the uncanny sense of humour. That’s beautiful. And then the part needs it. Because, I mean, the show itself could become very very difficult to take. It’s such a downer (?).

James Callis: My whole approach to Baltar was, that I didn’t want to make him necessarily evil. I wanted him to be caught up in something that actually he had no control over. And I think for somebody who was very in control and wants things just so, to find out his position at the beginning of the story, is difficult to bear for the man.

Aaron Duglas: Very very exited to be playing this, because it is my… my favorite show, that I’d done, so far, absolutely. And I know the purists down there are a little bit bitter about it. This new is awesome. It’s amazing. And everybody on it is really great. I’m the one that fixes the ships.
Grace Park: Yes, what do you do?
Aaron Duglas: Well, I’m the Chief…the chief mechanic. Basically, it’s what I do. I’m kind of the … yeah.
Grace Park: He’s the man with the balls, who fixes all the ships.

Aaron Duglas: Boomer is now played by a man trapped in a woman’s body. Grace Park.
Grace Park: That would be me.
Aaron Duglas: Hi.
Grace Park: I know, things are a bit different. Times change. When it comes to the very real world of playing Boomer, it’s a lot of a… it’s a lot of action that’s needed. And because the woman and man are both on equal levels whether they be fighting fires, fighting planes, taking down cylons, you name it, we have to be fully trained. And so when it comes to an actor we have to get really active and we have to do our own training.
Aaron Duglas: Where is your ancestry(?)? Are you an only child? Boomer an only child?
Grace Park: No. I think Boomer… I don’t think Boomer was loved enough.

Katee Sackhoff: ComicCon was really cool, I’m glad that we got to go. It was really interesting, ‘cause it gave us an opportunity to actually first hands sit down and talk with some fans. See, what they thought.

David Eick: How are you going to address all the fans hostility and anger towards you being a woman?
Katee Sackhoff: I’m just going to flash them.

Question: How dark is it going to be? Are we going to have nothing but bloodshed every episode?
Jamie Bamber: Well, the show is really about humanity. And every time you corner man kind, all you do is you bring it to surface. The gamma of human reactions, emotions, every great drama does that. Hamlet does that. And there is humor, always, in darkest place.

Question: Starbuck, he was a cigar-smoking womanizer. Do you love them? How is that going to be different?
Katee Sackhoff: My character still smokes a cigar. On a regular bacis. [?]

Katee Sackhoff: I would say that 90% of the people there were very supportive. And really happy about it.

Tricia Helfer: I thought it was gonna be crazy, crazy, crazy fans. And, you know, hating us, because we were, you know… Starbuck was a woman and that sort of thing. But no, everybody was supportive.

Richard Hatch: Very difficult to take a show, that has so much loyal following, three generation loyal following, and change it completely in terms of characters, relationships, even in a tone of the show. I would like to look at this show and enjoy it for what it is, see what Ron Moore did, what he explored. If I can get past my own feeling of having this show brought back in such a different way, then I would… you know, I would like to see who this people are.

James Callis: It’s supposed to be fun. It should always be fun. You know, even though I’d blown up the planet.

Aaron Duglas: Even if I wasn’t part of it, I’d watch it, just to see what it is. Let the old one be the old one, and the new one be the new one. And if you think the ending of the old one was awesome, the ending of the new one is incredible.

Jamie Bamber: Who would win in a fight between Apollo and Starbuck? Starbuck. Any day of the week. No contest.

Katee Sackhoff: If you want to see some great action, interesting story, great dialogue, great characters, couple sex scenes…

Edward James Olmos: What I would say to people, who like sci-fi and truly, you know, [?] wherever show comes from. I’d say that are really going to enjoy this one. This is going to be a great treat for them.

@темы: актёры, комментарии

---

Нет, я не умерла, я просто очень ленива.

Семейство Адама на отдыхе

@темы: картинки, Caprica

---

Раз уж мне про них напомнили, будет тауронская мафия

Тауронская мафия в деле







Тауронская мафия встретилась с каприканской







Тауронская мафия обсуждает свои дела











Тауронская мафия в суде



Тауронская и каприканская мафии выгуливают подрастающее поколение





Пока подрастающее поколение отвлеклось





Закурить не найдётся?

@темы: картинки, Caprica

---

Китайская пиратка это такая китайская пиратка. Но я хочу себе четыре часа минисерий, где диск дают?.

Я даже не знаю, что на этой обложке наиболее прекрасно, но аннотация, несовпадение обещанных сезонов и Аарон Дуглас на передней обложке это такие мелочи, что даже не смешно на фоне Энтерпрайза и подростковой комедии.

Каприка на Комик-Коне. Качество плохое, но мне фото весёлые понравились. Нужно собираться с силами и слушать видео, определённо

Какие футболочки.


Фотография Мура на память




Фанатское фото на мобильный


Ой, а куда все ушли?




Лесли, читающая про Декстера...


Подозрительно хмурое начальство






Техники с Галактики починят всё.

@темы: картинки, Caprica, актёры

---

Season 01 Featurettes

Два последних кусочка из этой серии закадровых рассказов. Про сильные женские персонажи и то, как актёры вмешиваются в написание сериала. У меня такое чувство, что такими темпами я до второго сезона доберусь не раньше осени.

Women in Pivotal Roles

Mary McDonnell: I’d read Battlestar and I was deeply moved, which I didn’t expect. So to me it was very current and an opportunity to play a female president, which… I’d had a few first ladies and things like that. But never had a female leader, quite in this situation or this stature to be able to go at but also the irony that there was a female leader, who had not the ambition towards that her whole life. So it was a different entry toward evolving leadership. And it was more about destiny, having to accept the mantle rather than to go after something. And I found that really intriguing.

Ronald D. Moore:You know, the original Galactica was just very male-oriented and trying to just sort of even it up and make it more interesting some of the roles naturally just became women to make it a more interesting show. Adama is man and is the leader of the fleet. And I wanted the role of the president, because I wanted to play the civilian versus military sort of tension and it felt natural to make the president a woman as well.

Jamie Bamber: The president is a strong woman with a compassionate…a compassionate bedrock, if you like. I think, that’s what he sees in the president. I think, he sees his mother, who he’s lost, who is perhaps more emotional than his dad ever was. And the president is an emotional woman, and Lee connects with her at that level. But she has element of steel, and she can show resolve, and she can make very very tough decisions.

Mary McDonnell: That’s what’s beautiful about this in a general(?) sense, that there are so many women in it who are very comfortable with themselves, whether they are human or cylon. And that I think… particularly the role of Starbuck, I think, could be very very important role for young women. Because if they can start to get comfortable with someone like Starbuck, who basically is herself, you know, she just is, and let’s not make an issue from it. Then that’s a wonderful conditioning for this girls, who I fear at the moment are almost endangered by a kind of fashion anorexic version of what a woman is. And we are seeing all kinds of women in this particular show. And they are all pretty comfortable with who they are, you know, and I find that exiting.

Grace Park: I think it’s so exiting, to have so many strong female characters. Because we have so many. I mean, if you look at the population it’s pretty much half-half, fifty-fifty men and women. And so to have only… you previously just only male dominated. It showed one element of it. But right now is seems like the tides are changing, there is more female strength ether higher up, you name ether in government or military or business. And it adds another element, and that’s another dimension of relationships, which way they’re going, how do you deal with the sexuality of it, are we gender neutral, are we… We are not asexual, you know, we are both still sexual beings. And to add that in there just creates another sort of stir to the pie.

Tricia Helfer: Oh, I think that we have women in…in, you know, pivotal roles. It’s fantastic. It’s not normal science fiction. You know, in science fiction they are normally the eye-candy or whatever. It…again it reflects where we are in the world today. And it’s more real. You know, you have women over in Iraq, and you have… why not have women on a battlestar? In important roles.


Writing a Dark, Sexy, Political Sci-Fi Show

David Eick: Well, the initial impulse for re-imagining Battlestar Galactica actually came from Universal Television and Sci-Fi channel, who approached me and asked, if I’d be interested in taking the title and coming up with the different way into it. I was the fan of the original, but I also knew, that it represented an opportunity to do something different. Not just with the title, but with the genre.

Ronald D. Moore: I think, goal from very beginning on the redoing Battlestar Galactica, for me anyway, the only reason to do it, was to advance science fiction on television, to try and reinvent the genre, to take something which had become very sort of tired and sort of expected and become very cliché in all of its forms, and how science fiction was presented week after week at this day and age. And to really say “No, let’s try something different”.

David Eick: Why do another space opera? The world has plenty of them. They’ve done extraordinary well. The Sci-Fi channel itself airs some of them. If we are going to go back to that well, we better have a damn good reason. And I think that more than anything motivated us toward that place of going “OK, well, there is a lot of idealized science fiction, there is a lot of fantastical science fiction, is there a truly realistic approach to the genre?”

Mary McDonnell: My sensation is that… And my conversation with Ron is that the impulse to do that wasn’t the decision to be different. The impulse to do that was that he felt the story in a different way.

Edward James Olmos: You look for stories. You know, you are storytellers, so you look for stories to be involved in. And this story was very strong, very unique and very well-written.

Ronald D. Moore: There is now show unless you write it first. So it’s always about a sсript, and it’s always about getting the story right and getting the dialogue right and making sure characters are there on the page.

Michael Rymer: I’ve noticed in the new scripts, that Ron Moore will write to the rhythms of the actors now, you know. Which isn’t always a good thing. You know, actors can get into sort of tricks and bad habits. But, you know, everyone has their own personality, their own way of speaking.

Katee Sackhoff: And the writers have started to write characters in our speech patterns, like the way that we talk. Which is really interesting. So they are picking up on us as a person and adding that into the character, which is nice, makes it easier to memorize lines, because it’s the way that you talk.

Grace Park: The writers are really great, they do such wonderful work. And then if there is ether element, that we think, that’s been overlooked or that we are unsure of, they help us clarify that. We do have access to writers and producers, and they are so helpful. Because all of us want the great show.

Ronald D. Moore: It’s a tremendous cast. They have an extraordinary commitment to the material. They are very committed to their roles, they believe in what we are doing. They like the scripts, they embellish on them, they make up bits of business and stuff on their own, which just acts to the texture and the richness of what we do.

James Callis: It’s really great to be listened to. To have your concerns addressed. In many television shows the actors never speak to the director, writer or producer. They are some kind of strange invisible high rocky, and like we are not worthy or we are too stupid. I believe, all of us feel that we are part of the process. And that we are as much creating our roles as interpreting them.

Jamie Bamber: The thing about the show like this, is that nobody knows the characters as well as the actor portraying the character. And, you know, we know the whole story from this particular perspective and from no other perspective. So there is the reality there, that no matter, how good a writer you are, you can’t keep all these ball juggling, so sometimes it’s down to us to call the writer, call Ron or David and say “Listen, I just think the last time I saw Starbuck it was in this context, and I think there is room for may be something else in the scene.” At the very top of it I’m sure we can go there, with writing this down. We don’t need to be writing, but there need to be, you know, things like that. And they are by and large extremely receptive. But they are not afraid to say “Shut up, you’re wrong”

Tricia Helfer: You can call Ron, or speak to the director that’s doing it, or David and discuss it, and talk about it. And they want you happy, and they want you to feel comfortable with what you’re saying and doing. And so they’re very open.

James Callis: It’s a great opportunity for all of us to work with people, who care so much. And really have such great ideas. And I would also include Michael Rymer who was… who directed our first show, as somebody, who’s really steered this in to the century that we are in.

Mary McDonnell: See, I think, what’s really interesting about these guys… And I have to say Michael Rymer is a great part of that equation, because he cast the mini with them. But what’s really wonderful is that they wanted to and did cast really smart actors. Now that we can be such a pain in their you know what. And I’m sure we are. Because no one, not one actor in this group will let something slide. I think, that the ideas, that are the stress points in Battlestar Galactica are very familiar to us since September 11th. The fear of terrorism and its ramifications.

Jamie Bamber: There are elements in it, that are sort of lighthearted. And there is definitely humor. But this show is all about fear. It’s what it’s about.

David Eick: The show is dark, the show is intense, and the show is sexual. I believe that those are attitudes, that we haven’t seen in science fiction on television. Although we do see those very well represented in science fiction in movies and books and great graphic novels and so forth. So I don’t view those as antithetical to science fiction genre. They are very well represented in genre in other media. We just haven’t seen them on television, so I believe that it will work. I believe that it will actually flavor the science fiction drama in such a way that we haven’t seen. If it becomes too intense or too inappropriate for people, then we’ll fail. But I don’t think we will.

Ronald D. Moore: You know, the darker qualities of the show are embedded in the premise of the show. Show begins with the holocaust of the human race and focuses on the handful of survivors. By its nature it’s a dark show. Has elements [?] disturbing, and, you know, there is a constant sense of fear. And will our enemies catch us, so we all be wiped out. That will always be there. But it’s that very situation that allows the sort of stronger qualities of these people to come out.

David Eick: How is this going to be different? How is its… How at its utter guts is it going to be a change up, it’s going to be something unexpected? And as long as we keep asking that question, as long as we keep pushing in that direction then I think we got a job.

@темы: актёры, комментарии

---

А просто так. Что у Грейстоуна в лаборатории стоит.

@темы: картинки, Caprica

---

Ещё немножко Кэти и Эдди с прошедшего Кона. Ничего особенного, увы, пока не нашла

Кэти:




Эдди:




Вместе:



Файл называется Eddie Does an Impersonation of Don Johnson. Я понятия не имею, кто это.


Кэти спросили предпочтения в Сумерках

@темы: картинки, видео, актёры

---

Ну да, я бы предпочла Мэри, но с Кэти Эдди тоже хорошо смотрится.

Традиционное So Say We All, куда без него

Традиционное So Say We All, куда без него

@темы: картинки, видео, актёры

---

В доказательство того, что фанартисты хорошие есть, просто их очень мало и они лентяйничают.

@темы: картинки, плагиат

---

Caprica, on-set

Они не то, что бы все совсем закадровые, но я люблю такие фото (А ещё меня можно пнуть на перестать лениться и выложить стиллы с семейством Адама)

@темы: картинки, Caprica, актёры

---

Чёрно-белая прелесть.

@темы: картинки, актёры

---

Season 01 Featurettes

Про противоречивый, но интересный эгоизм Балтара, и то, что правильные спецэффекты делаются ради драмы, а не ради самих спецэффектов.

The Doctor Is Out (Of His Mind)

James Callis: Set against the, I suppose of hilarity of not being in control of what you think or what you are going to say is the awful tragedy of being implicated of implicit in a major disaster. In a genocide. So it terms of Litmus, which is the name of one of our episodes, he kind of… he goes through the universal indicators from like… what is it… from indigo to red and he’s fluctuating with colors all of the time, ‘cause there is so much going on. As an actor that’s an absolute joy. To be able to be not tied down to a personality, so that there are always things that you can explore.
I know this guy in London, who I respect. And in fact, you know, he’s a real genius, and got several degrees from Oxford. But he’s very bad liar. And that amuses me that somebody, who is so brilliant… He’s a very very clever guy, but can’t really tie his own shoe laces, is hopeless in a supermarket, wouldn’t know what to do. And he’s in that respect… because mind is always on theories and the ideas and beauty of kind of… He’s very bad liar. He just kind of transparent. So that’s something that I wanted to bring on the table about Gaius Baltar.

David Eick: Our main antagonist Gaius Baltar is not psychotic, he’s not schizophrenic or clinically insane. And he’s not mustache twirling evil villain. He’s simply a pathological narcissist. He operates purely out of his own agenda and to satisfy his own needs and desires. And so what better way to get at a man who is that brilliant and yet that weak than to go at him with the most beautiful woman at the world.

James Callis: Well, I think he’s coming to terms with…he’s coming to terms more with this hallucination, who’s Number Six, in his mind. He’s becoming more comfortable, I suppose, with the idea of being bonkers. Or at least… I do not believe for one moment that he thinks there isn’t a chip in his head. What I’m trying to say, that there is a possibility for somebody like this that really there is no chip in his head, he’s just going nuts. But Baltar hasn’t thought about that. Baltar totally believes that, you know, there is some kind of thing stuck in his brain, that is broadcasting Number Six’s image to him.
She helps me and hinders me, I suppose, almost simultaneously, to… I suppose, to keep me alive. From episode to episode.
I don’t think I’m really taking anything from the original. Apart from the name. And the name brings with it an enormous backdrop. In a sense of I have entered this…this drama as Gaius Baltar and the lion share of people who watch this show will know it, know that I’m going to be the guy who… He’s bad. I mean Baltar was the baddie. So in that respect … And I’ve seen John Colicos, I remember him, so well, I have a visual kind of picture of him. My hoping was to be as different from him as I possibly could. From that.

Katee Sackhoff: James is just a riot. He just cracks me up. I had a scene where I had to dead-look at him and not make an expression for the whole scene, and he’s sitting there cracking me up inside. And I’m going “OK, don’t laugh, don’t laugh, don’t laugh.” And I laugh.

James Callis: This kind of a character is quite new. In a sense of, he might do something heroic but it would be for totally the wrong reason. So, yes, he’s ambiguous and ambivalent. And in a nature of somebody who is very hard to pin down or understand, where they are coming from. I believe that’s why they are interesting. Because all we want to do, when we look into somebody’s eyes is to kind of be able to say “I kind of know who you are, and I’ve got your energy, and I get it.” And with this individual I think it’d be very difficult to pin a color on him or say he’s exactly this kind of a thing. So, that’s great.


Visual Effects

Gary Hutzel: Battlestar Galactica is unusual in visual effects because we’re studiously avoiding science-fiction visual effects. We’re not creating a sci-fi look, something that is going to take the audience out of the show. Instead we want the audience… Ron Moore’s concept was always that the audience would continue to be involved with the performance. They were there for the spectacle of human drama. And we just needed to frame it with visual effects. And so we’ve struggled to make sure that our visual effects are smoothly integrated with live-action. And that there is nothing fanciful about them. That there is physical operations behind everything that happens.

Richard Hudolin: Yes, things like the space jump we… We designed our set in such a way that we could get a viper from its static position into a launch tube. We then yank it physically, pull it for may be 20 feet or so, which begins the shot-down tube, which then is taken over by visual effects.

Gary Hutzel:In doing the flying sequences for Battlestar there are two key elements. One is to create some real physics in space. In truth in dealing with… in dealing with space… space is vast. It’s really really big. And so going anywhere in space is actually very time-consuming, boring thing to do. So we have to take some licensing taking our characters from one place to another. We try always to do it in a manner of cutting as opposed to actually saying that they are taking a kind of magical super-light-speed-jumps. And we try to always place the audience in a canopy with our characters. We like to put our audience into that environment. So they can feel the threat of being under…being in those conditions, under battle conditions. So in dealing with space we try to always pay attention to the physics. You notice our ships only use RCSs or Reaction Control Thrusters to rotate, to reorient themselves. They don’t have big magical engines that glow in the dark and make them go, they have rocket engines that are actually fuelled by a liquid fuel. It’s something that is very understandable, they know when the engine thrust is big and bright that they go fast. And it makes a certain amount of logical sense. You don’t… the audience doesn’t spend time getting involved with how do the get from place to place, how fast are they going, how do they… how does that thing work. They are not involved with that, they are paying attention to what the actors are doing. And in the case of Battlestar we are very fortunate because we have actors that can not fill that time, make that real for the audience, but excel and create that incredible environment that’s very very real for the audience.
In out show we do what we call jumping. We go from one piece of space to another piece of space dimensionally. The ship doesn’t speed up and then zip away at light speed. It literally crosses dimensionally from one space to another instantaneously. So there is non of the usual stuff that you see for instance in Star Trek or other…or episodics, where they speed up, and there is a great streak and they fly away and all of that. They simply appear in one place of space...in one area of space as opposed to another. So the interesting thing about our jump effect was that originally we’d done a bunch of design…3D design work. Ron Moore’s original concept for it involved what I believe he called an origami like unfolding through space. Which sounds great. But in execution we found out that what happened is that we began to develop it … There were number of good concepts we had for it… But it became obvious that taking time out to do a sci-fi gag, where our ship is unfolding like an origami bird, was just not going to work. It didn’t fit into the context of the show. And so we’ve worked with Michael on a very very simple effect. That just reveals the ship through a light effect, that is specifically meant to be unobtrusive. Make a story point, then move on.
Specifically today we had a scene that takes place inside a raptor. And a raptor is a helicopter like spaceship, with a large glass canopy in front of it. In this particular case the actors are doing a scene where they jump and they came in too close to a planet. And they react to coming in very very close to this planet and having to correct the attitude of the ship and get into orbit. So for the actors…basically they are looking out the glass canopy and they see green and a bunch of blue dots and little triangles stuck on a screen, which doesn’t look much like a planet. And it’s not very threatening. So we have to get them on board with exactly what’s going on outside. We do quite a bit of green screen work on this show. Of course our cast is pretty familiar with this now. And they are pretty seasoned pilots, so they understand what we’re talking about, when we get into that. But it’s great fun because ships are mounted on gimbals with airbags, allowing us to rock the ship and add vibration. So for the purposes of the performance the actors are actually physically being jolted from one side of the ship to the other, to give a more natural feel to it. Really helps them to get into swing of the scene.
The trick to doing good visual effects on television is… we use basically the same tools that features use now, because we are finalizing our product on high-def. High-Def is just below 2K resolution for film. So the image size if virtually the same as you’d use on a feature. So we have to create all materials at full resolutions, just as you’d for a feature. But the real trick is not so much the tools it’s working with the director and executive producers to create scenarios that allow us to explore new things in visual effects ground. And that’s been very successful on Battlestar. We have the nature of the show itself, the way that the components of the show, the sets, the ships, everything about it have a natural feel to the audience. It’s an instantly recognizable feel. It’s not false or organic, or very art-designed, it’s very basic, and sure hand to the audience that they understand. That’s when you are in the viper it’s a fighter and it’s one-man ship. They understand that the Galactica is huge landing strip in space. It’s instantly understood because of the design of it. That then fits us a great deal in then being able to execute story elements very quickly and smoothly, without bothering to explain why the space ship does this or why the spaceship does that. And I think that’s really the secret to creating good visual effect. Is good… basically good design. And then to have the cooperation of the writers and the director in following through on the layout of visual effects and on how they are integrated into the show.

@темы: актёры, комментарии

---

Интересно, я когда-нибудь дождусь шипперских промок? Хотя Билл в этой серии шипперский, но даже книжку не показали.

И если я не помню, что бы Билл с Ли в серии или удалёнках какую-то фотографию рассматривали, я совсем склеротик-идиотка или это ещё лечится?

@темы: картинки, 04x08 - Sine Qua Non

---

Зачем к Мэри нагло затесался Джейми, и чем мне нравятся эти картинки, сама не знаю. Но позитивят.

@темы: картинки, актёры

---

Season 01 Featurettes

Когда некоторые фразы так и не удаётся расшифровать после десятикратного прослушивания, я начинаю сильно сомневаться в своём знании английского. Тем более что половину даже тех слов, что я поняла, я перевести всё равно не в состоянии. В том числе, кем работает половина этих людей.

Production

Richard Hudolin: When they hired me to do Galactica the only mandate was “show me something, we’ve never seen before”. Which was, when you think about it… it’s a dream on the one hand and nightmare on the other. Because you have no reference points.

Doug McLean: When we came into the series… Because we changed to HighDefinition instead of film. We did some camera test and found we had to take that edging even further.

Because we are shooting this in HighDefinition television it’s very crisp. It really pops colors, and you have to [?] that it doesn’t get too music video looking. So we’ve edged this thing incredibly, to the extent when you look at the screens and we’ve taken waxes and paints and literally gone over all of the screens to knock the brightness back.

Steven McNutt: Well’ we’ve decided a long ago… that visual style wanted to be very … snatty, is the word.

We attempted to make it a reality-based looking film. And of course we are now shooting HighDefinition 24p, which is exiting media, because we have create so many visual looks in the camera. It’s really digital format, it’s a different kind of a scan ray. What you are shooting right now is video, which is in interlaced format. And what we are shooting is a progressive scan format, which give you an illusion, a closure to what film will give you. I have control of the image with a master setup unit that I use and I go in to work with different grain structures or noise structures. I can work with contrasts, blacks&whites and highlights and shadows. And I can crush blacks down, I can blow the highlights up. And I can create colors with it, I can do all kinds of different things, that I do in this media, that a lot of people hadn’t started doing yet.

David Eick: Battlestar Galactica attempts to present its environments in as realistic a way as possible. So for example we shoot on lenses that are longer than you might expect to shoot a science-fiction show, where you might use a wide-angle lens to present a staggering vista or a glorious set. We shoot on the longer lens to feature the individual amidst the set versus the set.

Michael Rymer: The visual style - and it was very much Ron Moore and David Eick’s vision, before I was even brought in – was “we want to make a documentary style science-fiction show”. We want it to feel real. We want it to feel… to feel the grit of what it’s like to live in the space ship, what it’s like to have the world destroyed.

Steven McNutt: Doing a hand-held show is always a bit chaotic. Because it never lends itself to that much stability. The cameras are very heavy, so, you know, the camera operator is constantly trying to hold it up and… And it adds to the chaos of the show, which then helps the grittiness of the look.

Ronald D. Moore: That was one of the very first decisions, to make a show sort of a documentary look and feel to the whole thing. And that came…comes directly out of me working in science-fiction television, mostly Star Trek. If you look at the way Star Trek is shot, and produced, and realized, it hasn’t changed very much in the last 20 years. Realistically. It’s very, you know… The audience is distant from the material, you don’t believe anyone really lives aboard the Starship Enterprise. You got to imagine that they do, but you don’t really believe that people live and breath there, they live their day-to-day lives in that environment. It’s more escape, it’s a stylistic convention of what the future should be. I find that that distances the audience from the drama you are trying to tell. The further away you get from a real place and real people and real situations, the more the audience is just sort of watching the show, the less they are experiencing the show.

Steven McNutt: They are not laying it as you normally would another show, because they want it messy. And it is a very messy look. A lot of dark eyes, a lot of top light, a lot of, you know, just industrial type of looking space. Well, with Mary obviously, you make her look beautiful and Number Six has to look beautiful, but Eddie doesn’t want to look beautiful. He likes it the way he is and keeps saying “Don’t make me look too good”. And he is very serious about it. He likes… he likes the messiness of it all.

Patricia Murray: For the whole look of Battlestar we went for more of feature quality. Meaning it’s not how much make-up they wear, but it’s bringing out the essence and quality of the character. So we are saying that they may be actors who are only in the chair for a few minutes, and then we get more involved characters, like Number Six. Who is in my make-up chair from 45 to hour depending on the outfit she is wearing. And she allows me to [?] and help create Number Six’s look. I’m also working with the [?] and Steven in lightning her so she is almost illumines.

Gerald Gibbons: All looks are very…very modern looks. We are not trying to do cutting edge modern. Bu we are right in there if you look in magazines or other…other things. The people are wearing around you. We are kind of right in that niche of …we don’t have any futuristic hairstyles per se. The theme of the show was kind of to stay away from the weird hairdos and weird colors. Our military people are easily identifiable, all of girls have ponytails, all the guys have buzz cuts. You have to kind of match what the wardrobe is saying and… and you know, to have a wild hairdo and a normal wardrobe, you’d see that it wouldn’t work. So very day-wear look.

Glenne Campbell: Because everyone is running for their life, they didn’t grab a lot of cloth. When they left their home or their office or wherever it was. So it creates an interesting element for costuming. In that… It’s different, we don’t have a lot of clothing and costuming to deal with, but the ones that we do finally select have to be dead-on. And be able to function for the run of the series. It’s a shipping crisis so, you know, the edge has to be there. They haven’t had a lot of time to think about how they look.

Mike Mitchell: I generally like to construct stunts... And the majority of the stunts on our show are fight scenes and things like that. I generally like to construct them so the actors can do almost all of their own stuff. We have a really handy cast and generally speaking we don’t have in the dead in the crowd they are all pretty active. Sometimes we have women fighting with women, and men fighting with women and vice versa. We break away from the traditional, you know, bar brawl with men. Even sort of our glamour character Six, played by Tricia, has been getting…getting into the fight too.

Tricia Helfer: The one episode where I had a stunt fight, I’d never done that before. So, I, you know, had to work with the stunt coordinator, and practice at home quite a few my punches and kicks. With the towel over the shower rack, and you are punching away.

Mike Mitchell: Also it gives my stunt women an opportunity to do things that they probably wouldn’t do normally. Because we usually don’t cross those boundaries, so it gives my stunt cast an opportunity to do something very [?].

Steven McNutt: The world has changed so much in past five or six years. With the.. With styles of shooting, and there are almost no rules anymore. But I do think that the cutting edge part of this show is the fact that we are manipulating the new media, the digital media, and we are pushing it to the very edge, that it exists right now, and trying to go past it. And it’s just a matter of learning.

Ronald D. Moore:You put a tremendous amount of work and effort into all this sort of prep. Writing it, getting things lined…getting all the pieces lined up together. And then the reward for all that is – you get this piece of film. And here is this footage of something that, you know, you talked about in your office. And here is some notion that you were telling other writers months ago. And oh, here is this episode, and how it ended. And here is that viper doing a thing that you asked it to do. And there is the interior of cylon raider, and we realize it’s the way we always hoped. That’s what it’s all about. The satisfaction of the film itself. Of “Wow, look at that. Eddie Olmos. Look at him go. Look at him do this role. Oh my god, it’s great.”. You know, I mean, that’s…That’s why you do the job at all. That satisfaction of watching the story actually happen.


The Cylon Centurion

Gary Hutzel: In the Original Series the cylons were the creation of an alien race, that was setting out to destroy the humans. And of course they were guys in suits. So going into the show there was a discussion about whether we should maintain that same aesthetic. But as we continued to develop the show, we realized that it would take us out of show and create the wall with the audience saying, they would now it was a guy in a suit. And so the decision was made to make the cylons entirely virtual.
Michale Rymer, who had laid groundwork for the entire series, as the director of the miniseries, had… Can the the cylons as basically being an interesting piece of the set. He wanted them to not interfere with the performances that he was getting from the actors. And so we had them stationed at the back of the room. But unfortunately, as soon as they showed up in the scene, and we started roughing them in to the rough cut that Michael was working on, he realized that they just completely stole the scene. And so we put more and more shot of cylons into the miniseries.

Richard Hudolin: The decision to do the complete CGI was that you could control and make them look totally unique. Again following, the thought process of “we want totally different”. If you use a person, your hip, no matter how thin you are, is still going to be [?] your waist or 20 inch waist, or whatever. And you will still have that human aspect to your centurion.

Gary Hutzel: We’d used number of different approaches to the cylon movement. Including actually tracking a moving person. And allowing cylon to be quite human in its motions. And it was an eerie fact, it was very strange to see this shiny metallic monsterm you know, walking into room with a swagger. But Michael’s reaction to it originally… I thought it was quite interesting, but Michael’s reaction was to burst out laughing and say “Nice cocktail walk”. So we eliminated it from the show and our cylons no longer swagger into the scene, they are quite a bit more mechanical now.

Richard Hudolin: So the desion was made to go totally CGI, which allows you to create something that is basically running on a bolt-joint at its.. at its hip. And it made it look fantastic, because of total[?] creations.

Gary Hutzel: It has full articulation meaning that all the components of it work just like a physical object. The fingers are all connected to the hand and operate in articulate way. Likewise the arms, legs, head, everything. It therefore has a very particular way of moving, that is limited by its physicality in a virtual world. But they still frequently… we realize very human reactions to them. The cylon will address individuals. It will face them, look them in the eye, behave threateningly. But it’s distinctly not human. And through the course of the first season we continue to develop the feeling of the cylon and how it works within a scene.

When we go to do a sequence with a cylons we use our friends behind us here to stand in, so that the actors have a eye lie. In a scene with a cylon an actor doesn’t know where it is, or how tall it is, or what it’s doing. So we use our stand-ins. We have them in several different sizes and positions. So we can demonstrate what the cylon can be doing in the scene, so the actors have more to work with.
We rough it in, send it to the producers so that they can art-direct the cylon. And frequently our directors get involved as well and say well, and honestly, we’ll direct the virtual character of a cylon. And we’ll say, oh, he wouldn’t do that, we’d like to have him… He’d really turn away, you know, from camera on this point. And we take all of that into account and re-work the cylon until we get the performance that the director and the executive producers want.

We never drive the scene with the visual effect. Ever. We drive the scene with the best composition and the best performance. Then we back it in from there and put the creature in. We haven’t really thoroughly explored them, even in the first season. As to what their capabilities are, whether there are sentient or [?]. So it’s fertile ground for season two. We are waiting to do even more with them. But it’s been exiting season for the cylons. There will be quite a bit cylon action.

@темы: актёры, комментарии

---

Видимо, выбор наилучшей рекламной фразы? Но на Эдди я всегда согласна любоваться.

Эдди и зелёный фон

То же самое:
Шестёрка
Балтар
Ли
Дуалла

@темы: видео, актёры

---

Через чужое плечо увидела знакомую морду лица.

Нет, я ни Леобена ни Каллума не фанатка, Америку не открыла, и вообще оно не похоже, но мимо того, как человеку везёт на блондинок я пройти не смогла.

Battlestar Galactica 03x02 - Precipice

This is Kacey. Kacey, this is Kara.

La Femme Nikita 01x10 - Choice

There’s a little person I want you to meet. Meet Casey.

@темы: актёры