Наивно-оптимистичный сайлонский тормоз в ромашках
Начала смотреть и конспектировать дополнения к первому сезону. В теории идея выглядела лучше, чем на практике, ибо выяснилось, что с дословным конспектированием у меня всё-таки не так хорошо, как могло бы быть. Поэтому нескромный вопрос. А кому-то это вообще нужно, кроме меня? Или лучше краткий пересказ, но на русском? Или лучше вообще не
Качала я когда-то с сайфаевоского сайта, так что качество соответствующее. Если кто знает, где дают лучше, то я хочу.
Change is Good Now They're Babes!
Про смену пола персонажей. Мур с Эйком рассказывают больше в общих чертах, про желание большего гендерного баланса нежели в оригинальном сериале. А Кэти с Тришей про то, как женский пол на их персонажей влияет. Грейс про Бумер тоже рассказывает, но кроме намёков на то, что важно, что её сделали женщиной, я только про сайлонство услышала.
David Eick: Well, I think that the main approach is to write them as people. And write them as characters inhabiting a place in our universe: whether it be the president, or the best pilot aboard this ship or the turncoat who is amongst us. Those are what’s featured (?), those are ideas are what lead the way in terms of how those characters are shaped and in terms of what they do. The fact that they are male or female is not a non-issue, because obviously men are different from women, but it’s not a main issue. It’s not the thing that drives us.
Katee Sackhoff: When I first read the sсript, I had no idea. I mean, I knew the original series, but I had no idea that Starbuck was man in the original series. And so my father was like “you need to go and you need to watch. You know, some of the original series before you audition for this”. And so I did. And we were watching the show and we were like “They are talking about Starbuck. Where is Starbuck?” We had no idea. And then we realized that it was Dirk Benedict and we were like “that’s why casting director asked me if I was OK with this”.
Ronald D. Moore: Making Starbuck a woman was one of the first things that I thought of. And then as I was sort of stroking out who all of cast and characters were it…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.
David Eick: Well, making Starbuck a woman was Ron’s idea. He felt that the rogue pilot, the cigar-champing kind of anti-hero, kid at heart, was sensibility that we had seen a lot played by men. From Harrison Ford to Dirk Benedict. And so suddenly it felt like a novel idea once again, if you said “OK, let’s make it a woman”. He have one hell of an actress playing this role.
Katee Sackhoff: I thought that it was a smart choice to make Starbuck a woman. I feel that had they… Anyone that was put in this roles of the main characters of the original series was going to take some slack. Whether you make it, you know, a man, a woman or a dog. It’s… You are gonna get compared still to an old character. I think that making Starbuck a woman immediately… You can’t really compare her to Dirk Benedict’s portrayal of Starbuck, because you can’t. It’s a woman. Like you can sit there and say “Well, they are kind of the same”, but at the end of the day, you know, we have different anatomy. It’s not… We’re not the same.
Grace Park: The original… Well, first of all I’m not black and I’m not male. And I’m a cylon. So they’ve taken this character on the major spin. And I think a lot of people were quite upset with that. You know, they’d watch the whole mini, like this great love and all scream like “No, not Boomer!”.
Ronald D. Moore: Boomer is another woman I wanted to use certain things about. There is a secret at the heart of who the cylons are and what they are all about, that plays in to the fact, that Boomer is a woman.
David Eick: Boomer is out for blood. Boomer wants nothing less than the destruction of all the colonials. The problem is, that she doesn’t know it. And she’s been sent on assignment, and she is existing amongst our colonial crew. And as far as she is concerned she is Sharon, she flies Raptor, she is on our side and occasionally she has a bad dream or occasionally she has a normative confusion. And it’s becoming apparent to her that something is very-very seriously wrong. But only we know what really is the case. She doesn’t know. And watching her try to find out what this situation really is, is part of the fun of the first season.
Grace Park: She is dealing with the lot of her own personal issues. Come to grips of who she is, her true nature. And there is not just one Boomer. You know, because she is a cylon. There is many possibilities.
David Eick: Our main antagonist – Gaius Baltar, 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 of the world.
Tricia Helfer: She is the seductress, you know, there is the twelve models of cylons and, I suppose, Numer Six’s model is… is that. Uses her female charms, I guess. Since Number Six is a new character I don’t have all that, you know… comments from the fans of the original like Starbuck, or Adama, or Apollo. I haven’t had to deal with that. But I think we put a little bit different spin on the character between obviously the writers, and Michael Rymer who directed the miniseries, and myself. We had a little leeway with what we could do with it. And because we weren’t trying to fit into, you know, what was already there. So hopefully we made her a little bit more interesting than just the robot woman.
David Eick: We knew once again we’d be looking for someone to inhabit probably the most complex character in Number Six. Who simultaneously is out to destroy the world and yet out for love. Which she is.
Tricia Helfer: I like playing with the idea that the cylons almost made the humanoid cylons a little too human. That they can experience, and they can feel, and they have certain emotions. They might not understand them exactly, or they might be muted or … we are not sure yet, what exactly their scope is. But they are definitely feeling creatures. Throughout the series there are more clones of Number Six. And, you know, so one of my clones isn’t as sexual. She uses other parts of her, she hides her sexuality. It comes out a little bit, but she hides it more, when she tried to get something across. You can’t just come into any situation with this full-on Vavavavoom mode and expect people to believe you. So that’s one of the clones. And so I’m starting to get a few other clones, that have… that show different sides of Nmber Six a little bit.
Ronald D. Moore: It’s just been fun and interesting. Because it is a much more sort of balanced show in terms of the genders and who gets to play what. And in science fiction it’s not just the way it is usually done.
Director's Cut
Майкл Раймер про тяжёлую долю режиссёра БСГ. Как зрителю в фантастике некоторые вещи объяснять сложнее, чем в современной реальности, и как они старались выйти за традиционные границы сайфайного жанра. Ну и без похвалы актёрам как всегда не обошлось.
Michael Rymer: And I directed a mini, for a pilot, for Battlestar. And then I did the first episode of the season, when it got picked up to be a series. And I’m now back to do the season finale, which is number 12 and 13. My job, and most director’s jobs are, is primarily to serve the story. Now in this case we have a very spiraling story. We are cutting from planet to planet, we are cutting from duplicate Sharon to duplicate Sharon. And as usual there is just a hell of a lot going on. So one of the most important jobs I have is managing the transitions. So that when we cut from one world to another, one story to another, that there is a flow, and we are revealing where we are, who it is and what… which version of who it is is there, in a way that really help the audience to follow this journey. So simplicity and clarity are sort of primary things.
I can shoot a scene in a subway station, in a real life contemporary story and I can do all sorts of funky things with a camera and editing. And people will always know that they are still on a subway station. In this show there is a demand that we be a little simpler and clearer. Just in order that an audience can follow. Because they are not grounded. They don’t have those references “I know, where we are. We are on corner 42nd, in New York.” It’s just not… We don’t have those things to fall back on. But we have to create our world with as much detail and specificity, as if we were standing on a corner. That takes a lot of energy and effort.
I’m often spending a lot of time catching up with the actors. Who, we all agree, know their characters better than any of us. And they have been on a journey through thirteen… ten different stories since I’ve seen them. So it’s very much my job to find where they are, where they’ve been, where… what they’re thinking. Which is very unusual for TV. Normally an actor will show up, lucky to get a sсript the day before they shoot. They get some inputs, some notes, but in our show we really encourage the actors to…to feed us ideas about what could happen. I remember saying the day of the very first reading. I said, you know, I’ve had some wonderful pasts. I’ve been very privileged in my life as a director. But I’ve never had a cast that I’ve been so exited about. As the sсript or people. There is not one weak link. You know, there really isn’t one story, or one character that go where you really don’t want to see them.
To take sci-fi out of this sort of abstract, sterilized, slightly inhuman style, which…which I think has been very effective for many years, from StarTrek to StarGate, to all this different shows. But this hopefully is a new departure where people overlap, people don’t finish sentences. There is just a more naturalistic feel. And particularly in the way that they behave, and in the story lines things are not clean. There are no obvious good guy or obvious bad guy. You like Baltar as much as anyone, and he is a terrible person. You even… There is a strange ambivalent compassion we all feel for the cylons. I mean, they are very human and they are very empathetic, a lot of the time. I don’t want to do what anyone else does anyway.
I’m trying to push the boundaries of the work whatever genre I’m in, whatever form at. Whether it’s TV, indie-features or studio-film. You are always trying to subvert audience expectations and push things to a point, where audience is engaged in a way that…because they’ve seen something fresh that they’ve never experienced before. In today’s world, you know, people watch TV, they see so much reality whether it’s you know, live embedded reporters in Iraq or reality shows. People know what real behavior, real drama looks like. Sometimes they want to see fantasy, sometimes they just want to see something to take them out of that world. This show does that, but one has to do it in a best possible polity. One has to really suck them into the world. And you don’t want people sitting back and going “Well, this is goofy, this is just people in funny stretchy suits and bumpy heads. Spatting nonsense about technology that doesn’t exist.” This is very much like our world. It’s hard to pull it off. It’s hard to show Caprica and spaceship with all fashion funds and all, you know, sort of lowtech stuff we’ve got and say to an audience “Well, no, this isn’t the distant future. This isn’t a distant past. This is a sort of other reality. That has its own rules” And you have to buy into that, even though you are not been given very clear signals, that you need to tell you this is sci-fi fantasy. And I think, if we pull it off, we will have sort of exploited the genre to evolve (?). You know, others will be able to do all sort of things in science fiction. That are traditionally done in science fiction.
The truth is the vague difference with this episodes coming up, 12 and 13, is that we all feel compelled to try to deliver some substantial emotional drama before we leave them and everyone goes off for a year. And I’m certainly not gonna spill the big twists that Ron is planning for the audience. I’m only trying to hint at it without giving it away. There is a fairly radical political fight. One might even say – civil war. There is a civil war that breaks out amongst the fleet. I’m going to reference a lot of films of one of my favorite director’s, Stanley Kubrick. We have tried to touch on some of the visual ideas, that he started with back in the 60s. You know, dealing with outer space and the pilot. This time there is going to be, you know, some references to “Doctor Strangelove” and this sort of absurdity of war and that sort of madness of that. And also if you look at “Doctor Strangelove” it is a very well structured film and it’s different parts are all done in quite a different style and there quite a lot of doco work, that has been sort of used in there. Quite an early example of extensive fight doco. So, you know, there will be doco, there will be this sort of wider, sort of more surreal angles used. We’ll get on a dolly-mobile, a little bit more in control, in order not to overuse the doco-style thing. It’s a very powerful tool, that can overwhelm everything. And if you use it all the time it means nothing.
I’m one of the people who helped create it, but I’m also a fan, so watching the episodes that followed mine, I hadn’t read the scripts. I didn’t know what was going to happen. And when the things were happening I went “Wow. That’s cool”. I’d like to, you know, I’d like to see what happens with that idea. And the pity is, there is no time and room to it all, you know. It’s… as we say it’s high class problem. But it’s very hard to do justice to all the great stories you could, you know, you could explore.
Epilogue
Несмотря на страшное название, всего лишь сравнение нового сериала со старым плавно перетёкшее в комплименты друг другу. Мур с Эйком рассказывают, почему оба сериала хороши по своему, каждый для своего времени. Джейми вспоминает, как он сначала испугался названия, а потом обрадовался сценарию. Кэти вспоминает, что после минисерий считала сериалы похожими, после первого же сезона - что у них только название и имена общие. Триша с Грейс просто уверены, что новому времени - новое видение. Мэри унесло с комплиментами куда-то далеко за границы сравнения с оригиналом. Джеймса с Эдди вслед за ней тоже на комплименты окружающим понесло.
Ronald D. Moore: I spent years doing Star Trek, and then I spent a couple more years doing Roswell and I’ve been steeped in the genre of science fiction on TV for a very long time. And I was sort of tired of it, personally. I mean, I’ve sort of felt that the audience was getting tired of it too. I think that a lot have changed between 1978 when the original Galactica series was on the air and 2003 when the miniseries came on. And it seemed wrong not to sort of, you know, acknowledge that and sort of move the show forward instead of trying to recapture nostalgically something that was long gone and that existed, you know, in 1970s. To take the concept, and take the show, and take the premise and bring it forward and sort of pay homage to the spirit of what the show was, what a show could have been even in its day and try then to make it something that would work today. I thought that was doing it a greater service, than just sort of lose yourself in a nostalgia of it.
David Eick: We were concerned of the alienating fans of the original Battlestar Galactica. But we also felt that those fans, although they might miss certain specific trappings of the original show like the cast or certain aesthetic values that the original show had, we really thought that they’d ultimately respond to the origin, the nuclears of Glen Larson’s idea. Which was very simply a rag-tag fleet banning together to survive. And that nucleus, that germ of the idea that so successfully spanned the original Battlestar Galactica was one we were very grateful to have at our.. as our resource as well. As for science fiction fans in general I think we both, Ron Moore and I both, felt that for the same reasons why we were interested in more realistic approach to the genre as fans of the genre, they would follow soon.
Jamie Bamber: My first reaction when I read Battlestar Galactica on the front was “Oh, no.” Why, why, why go back to material that’s been done, you know. Why not come out with something new. But then I read it. And it is new. And that’s why I did it. Had it been the same as the old show, I think I would have been really reluctant to do it. Because you can’t do the same as an old cast did. But the point about the show is it’s the new thing. And once I appreciated that, straight away it was obvious to me that Lee Adama was not Apollo from the original. And that was a relief, a breath of fresh air. Which meant it was exiting, doable, and you know, I was thrilled to get a part.
Katee Sackhoff: I think the show is completely different. A year ago, when we shot the pilot, I’d made some comparisons. Because I’d actually had thought that it was very similar. But now it’s just… I think that the things that are the same are the name is the same and character names are the same. The end goal is the same. But it’s different. It’s a lot different. I think that… there is a lot more pain in this show.
Tricia Helfer: I absolutely feel it was a good move to update Battlestar Galactica. The miniseries did do well. You know, it was remarkable. We were a little worried going into it with the backlash of the fans of the original series and everything. But, you know, I think people… There were those that boycotted it and didn’t watch, but from what I’ve experienced many have come around and gone “Oh, may be we should pay attention to this.”
Grace Park: I completely think it was a great idea to reimagine it rather than just to have ether continuation or almost redo the entire thing. Because the fact of the matter is 25 years later we are not living in the same world as before. You know, and it would have… it would have fit very much for the time then, but I don’t think it would have flown as well as some people ether wanted it to or imagined that it might have. Especially after 09/11. I mean, it took on a completely new meaning. And to not go this way, I think, would have been insulting.
Mary McDonnell: I think it’s a wonderful thing that it succeeded. Obviously. But I also think that one of the reasons it succeeded has very little to do with its sameness or difference to the original. In my opinion its exiting to try and bring something new to the people who are already in love and devoted to a certain genre or a certain story. And what happened to us was exiting because I think we didn’t end up trying to do something new as much, as we ended up trying to do something real. How much do I love the creator of this show Ron Moore, and his writing stuff, and David Eick, and their ideas. Well, the material is fabulous, let’s start with that. And I can’t even tell you, I’ve never seen a cast like this. I don’t honestly think there is one person on this set, that I don’t enjoy seeing on a daily basis.
James Callis:You said Ron and you said David, and I would also include Michael Rymer, who directed our first show. He’s somebody who’s really steered this into… into the century that we are in. And given it a different look. It’s a great opportunity for all of us to work with people, who care so much. And really have such great ideas.
Tricia Helfer: Aside from having one of the best cast and crews to work with, everybody is just amazing and sweet and hard workers and everything. It’s fun. It’s fun to do.
Grace Park: I love it. It’s so fun. How could you not enjoy it. I love it. It’s really exciting. I mean, there is tough times to go through and I’ve been learning a lot of stuff as we go along, but all in all just learning not to take myself so seriously. It’s a wonderful show. Everyone is trying their best. There is excitement on set. Really kind of family feel with the crew and cast.
Edward James Olmos: This show is pretty well as detersive as anything I’ve done in my life. It has a really fine, fine acting core. And I think they all really work hard. And their very very talented artists.
Ronald D. Moore: It’s 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 stuff bits of business and stuff on their own. Which just add to the texture and richness of what we do. When I come to Vancouver and visit the set I’m always impressed by how seriously the entire production takes it. That they all believe into what we are doing, that Galactica is very real place to them. And it’s extraordinary. I don’t think I’ve… It’s the most committed and passionate cast that I’ve been in associate with.
David Eick: Ron and I have had some discussions about some really interesting character spins, that people will probably not be expecting in the second season. When we are going to leave them at the end of the first season is going to platform a lot of that. And I think that while we certainly don’t have the entirety of it all figured out yet, it’s really interesting that just when you think you can’t possibly come up with another idea for an episode of the show, suddenly you have more than you could possibly fit into a single season. It’s just a nature of how this things evolve.
Michael Rymer: Everyone says “Ok, what do we do next. How do we make it better. How do we build on this” And has that happened? There are definitely episodes that are as good if not better as the pilot. And I think the overall journey of this characters and the story is very much, you know, at the level we had at the pilot. Which is really what matters at story. It’s about what… you know, what is the story, what happens to those people, how compelling is that. And there is plenty that happens, that’s going to be compelling.
Gary Hutzel: Battlestar Galactica is blast. It’s just an incredible show. You got... You know, Michael Rymer came in and did an incredible job at establishing the premise of the show. Ron Moore writes incredible scripts. The actors are dead on the money. Every day, just incredible. There is no downside to the Battlestar Galactica. It’s fantastic show.
Качала я когда-то с сайфаевоского сайта, так что качество соответствующее. Если кто знает, где дают лучше, то я хочу.
Change is Good Now They're Babes!
Про смену пола персонажей. Мур с Эйком рассказывают больше в общих чертах, про желание большего гендерного баланса нежели в оригинальном сериале. А Кэти с Тришей про то, как женский пол на их персонажей влияет. Грейс про Бумер тоже рассказывает, но кроме намёков на то, что важно, что её сделали женщиной, я только про сайлонство услышала.
David Eick: Well, I think that the main approach is to write them as people. And write them as characters inhabiting a place in our universe: whether it be the president, or the best pilot aboard this ship or the turncoat who is amongst us. Those are what’s featured (?), those are ideas are what lead the way in terms of how those characters are shaped and in terms of what they do. The fact that they are male or female is not a non-issue, because obviously men are different from women, but it’s not a main issue. It’s not the thing that drives us.
Katee Sackhoff: When I first read the sсript, I had no idea. I mean, I knew the original series, but I had no idea that Starbuck was man in the original series. And so my father was like “you need to go and you need to watch. You know, some of the original series before you audition for this”. And so I did. And we were watching the show and we were like “They are talking about Starbuck. Where is Starbuck?” We had no idea. And then we realized that it was Dirk Benedict and we were like “that’s why casting director asked me if I was OK with this”.
Ronald D. Moore: Making Starbuck a woman was one of the first things that I thought of. And then as I was sort of stroking out who all of cast and characters were it…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.
David Eick: Well, making Starbuck a woman was Ron’s idea. He felt that the rogue pilot, the cigar-champing kind of anti-hero, kid at heart, was sensibility that we had seen a lot played by men. From Harrison Ford to Dirk Benedict. And so suddenly it felt like a novel idea once again, if you said “OK, let’s make it a woman”. He have one hell of an actress playing this role.
Katee Sackhoff: I thought that it was a smart choice to make Starbuck a woman. I feel that had they… Anyone that was put in this roles of the main characters of the original series was going to take some slack. Whether you make it, you know, a man, a woman or a dog. It’s… You are gonna get compared still to an old character. I think that making Starbuck a woman immediately… You can’t really compare her to Dirk Benedict’s portrayal of Starbuck, because you can’t. It’s a woman. Like you can sit there and say “Well, they are kind of the same”, but at the end of the day, you know, we have different anatomy. It’s not… We’re not the same.
Grace Park: The original… Well, first of all I’m not black and I’m not male. And I’m a cylon. So they’ve taken this character on the major spin. And I think a lot of people were quite upset with that. You know, they’d watch the whole mini, like this great love and all scream like “No, not Boomer!”.
Ronald D. Moore: Boomer is another woman I wanted to use certain things about. There is a secret at the heart of who the cylons are and what they are all about, that plays in to the fact, that Boomer is a woman.
David Eick: Boomer is out for blood. Boomer wants nothing less than the destruction of all the colonials. The problem is, that she doesn’t know it. And she’s been sent on assignment, and she is existing amongst our colonial crew. And as far as she is concerned she is Sharon, she flies Raptor, she is on our side and occasionally she has a bad dream or occasionally she has a normative confusion. And it’s becoming apparent to her that something is very-very seriously wrong. But only we know what really is the case. She doesn’t know. And watching her try to find out what this situation really is, is part of the fun of the first season.
Grace Park: She is dealing with the lot of her own personal issues. Come to grips of who she is, her true nature. And there is not just one Boomer. You know, because she is a cylon. There is many possibilities.
David Eick: Our main antagonist – Gaius Baltar, 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 of the world.
Tricia Helfer: She is the seductress, you know, there is the twelve models of cylons and, I suppose, Numer Six’s model is… is that. Uses her female charms, I guess. Since Number Six is a new character I don’t have all that, you know… comments from the fans of the original like Starbuck, or Adama, or Apollo. I haven’t had to deal with that. But I think we put a little bit different spin on the character between obviously the writers, and Michael Rymer who directed the miniseries, and myself. We had a little leeway with what we could do with it. And because we weren’t trying to fit into, you know, what was already there. So hopefully we made her a little bit more interesting than just the robot woman.
David Eick: We knew once again we’d be looking for someone to inhabit probably the most complex character in Number Six. Who simultaneously is out to destroy the world and yet out for love. Which she is.
Tricia Helfer: I like playing with the idea that the cylons almost made the humanoid cylons a little too human. That they can experience, and they can feel, and they have certain emotions. They might not understand them exactly, or they might be muted or … we are not sure yet, what exactly their scope is. But they are definitely feeling creatures. Throughout the series there are more clones of Number Six. And, you know, so one of my clones isn’t as sexual. She uses other parts of her, she hides her sexuality. It comes out a little bit, but she hides it more, when she tried to get something across. You can’t just come into any situation with this full-on Vavavavoom mode and expect people to believe you. So that’s one of the clones. And so I’m starting to get a few other clones, that have… that show different sides of Nmber Six a little bit.
Ronald D. Moore: It’s just been fun and interesting. Because it is a much more sort of balanced show in terms of the genders and who gets to play what. And in science fiction it’s not just the way it is usually done.
Director's Cut
Майкл Раймер про тяжёлую долю режиссёра БСГ. Как зрителю в фантастике некоторые вещи объяснять сложнее, чем в современной реальности, и как они старались выйти за традиционные границы сайфайного жанра. Ну и без похвалы актёрам как всегда не обошлось.
Michael Rymer: And I directed a mini, for a pilot, for Battlestar. And then I did the first episode of the season, when it got picked up to be a series. And I’m now back to do the season finale, which is number 12 and 13. My job, and most director’s jobs are, is primarily to serve the story. Now in this case we have a very spiraling story. We are cutting from planet to planet, we are cutting from duplicate Sharon to duplicate Sharon. And as usual there is just a hell of a lot going on. So one of the most important jobs I have is managing the transitions. So that when we cut from one world to another, one story to another, that there is a flow, and we are revealing where we are, who it is and what… which version of who it is is there, in a way that really help the audience to follow this journey. So simplicity and clarity are sort of primary things.
I can shoot a scene in a subway station, in a real life contemporary story and I can do all sorts of funky things with a camera and editing. And people will always know that they are still on a subway station. In this show there is a demand that we be a little simpler and clearer. Just in order that an audience can follow. Because they are not grounded. They don’t have those references “I know, where we are. We are on corner 42nd, in New York.” It’s just not… We don’t have those things to fall back on. But we have to create our world with as much detail and specificity, as if we were standing on a corner. That takes a lot of energy and effort.
I’m often spending a lot of time catching up with the actors. Who, we all agree, know their characters better than any of us. And they have been on a journey through thirteen… ten different stories since I’ve seen them. So it’s very much my job to find where they are, where they’ve been, where… what they’re thinking. Which is very unusual for TV. Normally an actor will show up, lucky to get a sсript the day before they shoot. They get some inputs, some notes, but in our show we really encourage the actors to…to feed us ideas about what could happen. I remember saying the day of the very first reading. I said, you know, I’ve had some wonderful pasts. I’ve been very privileged in my life as a director. But I’ve never had a cast that I’ve been so exited about. As the sсript or people. There is not one weak link. You know, there really isn’t one story, or one character that go where you really don’t want to see them.
To take sci-fi out of this sort of abstract, sterilized, slightly inhuman style, which…which I think has been very effective for many years, from StarTrek to StarGate, to all this different shows. But this hopefully is a new departure where people overlap, people don’t finish sentences. There is just a more naturalistic feel. And particularly in the way that they behave, and in the story lines things are not clean. There are no obvious good guy or obvious bad guy. You like Baltar as much as anyone, and he is a terrible person. You even… There is a strange ambivalent compassion we all feel for the cylons. I mean, they are very human and they are very empathetic, a lot of the time. I don’t want to do what anyone else does anyway.
I’m trying to push the boundaries of the work whatever genre I’m in, whatever form at. Whether it’s TV, indie-features or studio-film. You are always trying to subvert audience expectations and push things to a point, where audience is engaged in a way that…because they’ve seen something fresh that they’ve never experienced before. In today’s world, you know, people watch TV, they see so much reality whether it’s you know, live embedded reporters in Iraq or reality shows. People know what real behavior, real drama looks like. Sometimes they want to see fantasy, sometimes they just want to see something to take them out of that world. This show does that, but one has to do it in a best possible polity. One has to really suck them into the world. And you don’t want people sitting back and going “Well, this is goofy, this is just people in funny stretchy suits and bumpy heads. Spatting nonsense about technology that doesn’t exist.” This is very much like our world. It’s hard to pull it off. It’s hard to show Caprica and spaceship with all fashion funds and all, you know, sort of lowtech stuff we’ve got and say to an audience “Well, no, this isn’t the distant future. This isn’t a distant past. This is a sort of other reality. That has its own rules” And you have to buy into that, even though you are not been given very clear signals, that you need to tell you this is sci-fi fantasy. And I think, if we pull it off, we will have sort of exploited the genre to evolve (?). You know, others will be able to do all sort of things in science fiction. That are traditionally done in science fiction.
The truth is the vague difference with this episodes coming up, 12 and 13, is that we all feel compelled to try to deliver some substantial emotional drama before we leave them and everyone goes off for a year. And I’m certainly not gonna spill the big twists that Ron is planning for the audience. I’m only trying to hint at it without giving it away. There is a fairly radical political fight. One might even say – civil war. There is a civil war that breaks out amongst the fleet. I’m going to reference a lot of films of one of my favorite director’s, Stanley Kubrick. We have tried to touch on some of the visual ideas, that he started with back in the 60s. You know, dealing with outer space and the pilot. This time there is going to be, you know, some references to “Doctor Strangelove” and this sort of absurdity of war and that sort of madness of that. And also if you look at “Doctor Strangelove” it is a very well structured film and it’s different parts are all done in quite a different style and there quite a lot of doco work, that has been sort of used in there. Quite an early example of extensive fight doco. So, you know, there will be doco, there will be this sort of wider, sort of more surreal angles used. We’ll get on a dolly-mobile, a little bit more in control, in order not to overuse the doco-style thing. It’s a very powerful tool, that can overwhelm everything. And if you use it all the time it means nothing.
I’m one of the people who helped create it, but I’m also a fan, so watching the episodes that followed mine, I hadn’t read the scripts. I didn’t know what was going to happen. And when the things were happening I went “Wow. That’s cool”. I’d like to, you know, I’d like to see what happens with that idea. And the pity is, there is no time and room to it all, you know. It’s… as we say it’s high class problem. But it’s very hard to do justice to all the great stories you could, you know, you could explore.
Epilogue
Несмотря на страшное название, всего лишь сравнение нового сериала со старым плавно перетёкшее в комплименты друг другу. Мур с Эйком рассказывают, почему оба сериала хороши по своему, каждый для своего времени. Джейми вспоминает, как он сначала испугался названия, а потом обрадовался сценарию. Кэти вспоминает, что после минисерий считала сериалы похожими, после первого же сезона - что у них только название и имена общие. Триша с Грейс просто уверены, что новому времени - новое видение. Мэри унесло с комплиментами куда-то далеко за границы сравнения с оригиналом. Джеймса с Эдди вслед за ней тоже на комплименты окружающим понесло.
Ronald D. Moore: I spent years doing Star Trek, and then I spent a couple more years doing Roswell and I’ve been steeped in the genre of science fiction on TV for a very long time. And I was sort of tired of it, personally. I mean, I’ve sort of felt that the audience was getting tired of it too. I think that a lot have changed between 1978 when the original Galactica series was on the air and 2003 when the miniseries came on. And it seemed wrong not to sort of, you know, acknowledge that and sort of move the show forward instead of trying to recapture nostalgically something that was long gone and that existed, you know, in 1970s. To take the concept, and take the show, and take the premise and bring it forward and sort of pay homage to the spirit of what the show was, what a show could have been even in its day and try then to make it something that would work today. I thought that was doing it a greater service, than just sort of lose yourself in a nostalgia of it.
David Eick: We were concerned of the alienating fans of the original Battlestar Galactica. But we also felt that those fans, although they might miss certain specific trappings of the original show like the cast or certain aesthetic values that the original show had, we really thought that they’d ultimately respond to the origin, the nuclears of Glen Larson’s idea. Which was very simply a rag-tag fleet banning together to survive. And that nucleus, that germ of the idea that so successfully spanned the original Battlestar Galactica was one we were very grateful to have at our.. as our resource as well. As for science fiction fans in general I think we both, Ron Moore and I both, felt that for the same reasons why we were interested in more realistic approach to the genre as fans of the genre, they would follow soon.
Jamie Bamber: My first reaction when I read Battlestar Galactica on the front was “Oh, no.” Why, why, why go back to material that’s been done, you know. Why not come out with something new. But then I read it. And it is new. And that’s why I did it. Had it been the same as the old show, I think I would have been really reluctant to do it. Because you can’t do the same as an old cast did. But the point about the show is it’s the new thing. And once I appreciated that, straight away it was obvious to me that Lee Adama was not Apollo from the original. And that was a relief, a breath of fresh air. Which meant it was exiting, doable, and you know, I was thrilled to get a part.
Katee Sackhoff: I think the show is completely different. A year ago, when we shot the pilot, I’d made some comparisons. Because I’d actually had thought that it was very similar. But now it’s just… I think that the things that are the same are the name is the same and character names are the same. The end goal is the same. But it’s different. It’s a lot different. I think that… there is a lot more pain in this show.
Tricia Helfer: I absolutely feel it was a good move to update Battlestar Galactica. The miniseries did do well. You know, it was remarkable. We were a little worried going into it with the backlash of the fans of the original series and everything. But, you know, I think people… There were those that boycotted it and didn’t watch, but from what I’ve experienced many have come around and gone “Oh, may be we should pay attention to this.”
Grace Park: I completely think it was a great idea to reimagine it rather than just to have ether continuation or almost redo the entire thing. Because the fact of the matter is 25 years later we are not living in the same world as before. You know, and it would have… it would have fit very much for the time then, but I don’t think it would have flown as well as some people ether wanted it to or imagined that it might have. Especially after 09/11. I mean, it took on a completely new meaning. And to not go this way, I think, would have been insulting.
Mary McDonnell: I think it’s a wonderful thing that it succeeded. Obviously. But I also think that one of the reasons it succeeded has very little to do with its sameness or difference to the original. In my opinion its exiting to try and bring something new to the people who are already in love and devoted to a certain genre or a certain story. And what happened to us was exiting because I think we didn’t end up trying to do something new as much, as we ended up trying to do something real. How much do I love the creator of this show Ron Moore, and his writing stuff, and David Eick, and their ideas. Well, the material is fabulous, let’s start with that. And I can’t even tell you, I’ve never seen a cast like this. I don’t honestly think there is one person on this set, that I don’t enjoy seeing on a daily basis.
James Callis:You said Ron and you said David, and I would also include Michael Rymer, who directed our first show. He’s somebody who’s really steered this into… into the century that we are in. And given it a different look. It’s a great opportunity for all of us to work with people, who care so much. And really have such great ideas.
Tricia Helfer: Aside from having one of the best cast and crews to work with, everybody is just amazing and sweet and hard workers and everything. It’s fun. It’s fun to do.
Grace Park: I love it. It’s so fun. How could you not enjoy it. I love it. It’s really exciting. I mean, there is tough times to go through and I’ve been learning a lot of stuff as we go along, but all in all just learning not to take myself so seriously. It’s a wonderful show. Everyone is trying their best. There is excitement on set. Really kind of family feel with the crew and cast.
Edward James Olmos: This show is pretty well as detersive as anything I’ve done in my life. It has a really fine, fine acting core. And I think they all really work hard. And their very very talented artists.
Ronald D. Moore: It’s 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 stuff bits of business and stuff on their own. Which just add to the texture and richness of what we do. When I come to Vancouver and visit the set I’m always impressed by how seriously the entire production takes it. That they all believe into what we are doing, that Galactica is very real place to them. And it’s extraordinary. I don’t think I’ve… It’s the most committed and passionate cast that I’ve been in associate with.
David Eick: Ron and I have had some discussions about some really interesting character spins, that people will probably not be expecting in the second season. When we are going to leave them at the end of the first season is going to platform a lot of that. And I think that while we certainly don’t have the entirety of it all figured out yet, it’s really interesting that just when you think you can’t possibly come up with another idea for an episode of the show, suddenly you have more than you could possibly fit into a single season. It’s just a nature of how this things evolve.
Michael Rymer: Everyone says “Ok, what do we do next. How do we make it better. How do we build on this” And has that happened? There are definitely episodes that are as good if not better as the pilot. And I think the overall journey of this characters and the story is very much, you know, at the level we had at the pilot. Which is really what matters at story. It’s about what… you know, what is the story, what happens to those people, how compelling is that. And there is plenty that happens, that’s going to be compelling.
Gary Hutzel: Battlestar Galactica is blast. It’s just an incredible show. You got... You know, Michael Rymer came in and did an incredible job at establishing the premise of the show. Ron Moore writes incredible scripts. The actors are dead on the money. Every day, just incredible. There is no downside to the Battlestar Galactica. It’s fantastic show.
@темы: актёры, комментарии
-
-
22.05.2010 в 22:58-
-
22.05.2010 в 23:19Кэти с собачкой прекрасна примерно как окидывающий хозяйским взглядом площадку Эдди, что я могу сказать? Люблю их закадровую жизнь наблюдать.
-
-
22.05.2010 в 23:43А если я и это, и полный перевод, и пересказ, потому что твои пересказы люблю не меньше, как быть?
-
-
23.05.2010 в 00:34Change is Good Now They're Babes!
- Эйк начинает с того, что мужчины-женщины, это конечно важно, но в первую очередь персонажи все люди, даже которые сайлоны. Поэтому то, какого они пола не самое главное.
- Кэти говорит, что про БСГ-78 слышала, но не видела, и про то, что Старбак там был мужчиной тоже не знала. Посмотреть старый сериал перед прослушиваем её уговорил отец. И когда она увидела, кто же там Старбака играет, то весьма прониклась, чьё же это у неё наследие будет.
- Мур рассказывает, что решение сделать Старбак женщиной у него одно из первых. Оригинальный БСГ всем хорош был, но там был слишком большой перевес в сторону мужского каста. В новом сериале он решил это исправить.
- Эйк добавляет, что помимо того, такие курящие ненормальные анти-герои, которые дети внутри, это довольно в кинематографе использованный образ. Но когда такой персонаж женского пола, то в образ привносится нечто новое.
- Кэти обратно к сравнениям. Что сравнивать новых персонажей со старыми будут, даже если в новом сериале их будут играть собаки. Но то, что Старбак поменяли пол такое сравнение делает недействительным. Потому что в конце концов оба варианта объективно должны быть разными из-за разницы в анатомии.
- Грейс смеётся, что конечно её персонаж от оригинала отличается. Причём не только полом, но и цветом кожи и расой.
- Рон говорит, что Бумер он тоже специально сделал женщиной, это ему заодно поможет раскрыть тайные сайлонские секреты.
- Эйк долго и красиво описывает раздвоение личности Бумер в первом сезоне.
- Грейс намекает, что Бумер много копий.
- Эйк начинает рассказ о Шестёрке с Балтара. Мол тот гениальный, но эгоист, и к нему очень легко подобраться через самую красивую женщину в мире.
- Триша рассказывает, что Шестёрка это воплощение женственности среди сайлонов. И так как у её персонажа не было в оригинале прототипа, то она не только избежала своей доли эмоций от фанатов, но и свободы что-то сделать с персонажем у них с режиссёром было больше.
- Эйк говорит, что из целей у Шестёрки уничтожить мир и найти любовь.
- Триша начинает с того, что у сайлонов тоже есть чувства и эмоции, правда они ими пользоваться не умеют, поэтому ещё не ясно, в каком объёме. А ещё Шестёрок много, и она у каждой какая-то сторона характера слегка сильнее выражена. Есть, например, одна (Шелли Годфри), которая свою сексуальность тщательно маскирует, иначе всерьёз не воспримут.
- И Мур опять про баланс женских и мужских персонажей. Что так интереснее и немного необычный подход для сайфай.
Director's Cut
Тут сплошной Раймер. Он снимал минисерии и 33, а потом вернулся снимать две финальные серии первого сезона. И там сразу обнаружилось, что камера переключается между двумя планетами и некоторым количеством космоса. А зрители как-то должны понимать, где они сейчас и что там творится. Сайфай в этом смысле сложнее, потому что если снимать нашу реальность, то как на станции метро над камерой и прочим не издевайся, зритялям ясно, что это всё равно та же самая станция метро. А если показать Нью-Йоркскую улицу, то её без проблем как таковую опознают. В фантастике же подобного бэкграунда знаний у зрителей нет. Приходится создавать детальный мир самостоятельно.
Дальше переход к актёрам, что БСГ необычный сериал в том смысле, что обычно актёрам дают сценарий за день до съёмок. А в БСГ актёрам предлагается советовать режиссёру по поводу своих персонажей. Вот и Раймер со всеми пообщался, узнал, что там произошло за те десять серий, что он отсутствовал. Потому что на площадке давно уже известно, что лучше актёра его персонажа не знает никто.
Про сайфай как жанр говорит, что они хотели отойти от канонов. В БСГ люди могут говорить перебивая друг друга, не заканчивать предложения. И нет однозначно отрицательных или положительных персонажей. Даже гад Балтар не меньше остальных нравится. И даже сайлоны вызывают симпатию, потому что часто выглядят людьми и заставляют им сопереживать.
И границы жанра Раймер любит нарушать не только в сайфай, но и в любым своих работах. Потому что людей проще увлечь чем-то, чего они раньше не видели. И пусть многие фантастику смотрят для бегства из существующей реальности, но им ведь нужно взамен предложить что-то не менее реальное. Что бы они поверили, что это действительно мир, а не просто странные люди в странной одежде говорят что-то странное. Особенно в БСГ это нужно, потому как нет никаких стандартных указателей, будущее это или прошлое. Только сам мир.
Дальше идёт долго про камеру и принципы съёмок, это я пересказывать не буду, если можно. Только то, что в финале используются широкие, слегка сюрреалистичные углы съёмки, которые Раймеру нравятся, но ими нельзя злоупотреблять, иначе эффект теряется.
Ну и дальше про то, что сам фанат БСГ и не-свои серии всегда смотрит непроспойлеренным. И ему очень жалко, что для множества идей не хватает экранного времени, он бы им всем хотел внимание уделить.
Epilogue
- Мур хвастается своим послужным списком в фантастике, говорит, что он от неё такой слегка устал. И зрители тоже должны были. К тому же между 1978м и 2003м годами много всего произошло. Поэтому неправильно было бы снимать БСГ-2003 такой же как БСГ-78. Что отсылки к прошлому совмещённые с движением вперёд это и для обоих сериалов лучше, чем ностальгическое топтание на месте.
- Эйк добавляет, что, конечно, они переживали за реакцию фанатов оригинального сериала, но решили, что те в итоге поймут, что сама идея пёстрого флота, которому приходится совместными усилиями выживать, в сериале осталась, а это самое главное. Вырастет из неё два сериала, это же хорошо. А реализм их заинтересует, тут он с Муром согласен.
- Джейми рассказывает, что когда увидел что за сценарий придётся читать, то очень огорчился, что ничего нового не придумали. Прочитал, понял, что придумали. И очевидно, что Ли Адама это не оригинальный Аполло. Если бы это было не так, то он бы в сериале играть не захотел.
- Кэти вспоминает, что после минисерий она сравнивала два сериала и думала, что они похожи. После первого сезона ей стало ясно, что из сходств остались лишь имена и название. Всё остальное совсем разное.
- Триша просто радуется тому, что новый сериал - новый. И да, они из-за фанатов очень волновались после мини, но хотя многие бойкот устроили сериалу, многие им и заинтересовались в итоге.
- Грейс тоже поддерживает радость относительно переделки. Потому что за 25 лет мир изменился, особенно после 11го сентября. И сделать вид, что это не так, было бы просто оскорбительно.
- Мэри говорит, что она успеху сериала рада, но там дело не в похож-не похож. И главное не то, что делали что-то новое, а то, что делали что-то настоящее. Что вся команда, как творцы так и актёры сериал очень любит и с энтузиазмом подходит к делу.
- Джеймс подхватывает, но уточняет, что отдельно нужно выделить Раймера, который сериал изначально и подтолкнул в новый век. И да, он тоже всех очень любит.
- Триша тоже про любовь ко всем и про веселье на съёмках.
- Грейс согласна, что очень весело, хотя ей многому пришлось по ходу научиться. Но съёмочная команда и каст уже стали одной большой семьёй.
- Эдди с высоты своего полёта тоже ничего против каста не имеет. Они талантливые и стараются.
- Мур говорит, что такого увлечённого делом каста он ещё не видел. Потому что каждый приносит какие-то свои мелочи в плюс к сценарию, в итоге создавая богатый объёмный результат. И Галактика для них всех вполне реальное место.
- Эйк дразнится вторым сезоном, и жалуется, что когда кажется, что идей на серию не хватит, вдруг выясняется, что их набралось столько, что в сезон все не влезут.
- Раймер про то, что минисерии у него любимые, но и последующие серии хуже не стали, а может даже лучше. И самое главное, что история персонажей затягивает.
- Хадсел загибает пальцы, что в БСГ такого хорошего есть. Режиссёр, сценарист, актёры, ничего плохого нет в общем.
-
-
23.05.2010 в 00:55-
-
23.05.2010 в 15:40-
-
23.05.2010 в 15:47-
-
23.05.2010 в 15:50