Наивно-оптимистичный сайлонский тормоз в ромашках
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.
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.
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15.09.2010 в 13:02Краткое содержание будет по пунктам обсуждения, а не по фразам, ибо я лентяйка и халтурщица.
- Начинают с признания в любви оригинальному сериалу и сравнения его с новым. Мол история рассказывается всё та же, только делается это по другому. Оригинальный сериал был в своё время чем-то вроде продолжателя Звёздных Войн, говорит Мур. Хатч хвалит то, какие в сериале были персонажи и декорации, но слишком много технических проблем для еженедельного выпуска серий, из-за которых в итоге сериал и сняли с эфира. Эйк рассказывает, что сериал замечателен тем, что о нём в своё время знали даже те, кто его не видел. Мур рассуждает, что после Стар Трека подумывал а хочет ли он дальше делать сай-фай, но решил, что БСГ для ремейка просто создана. Более того, это замечательная возможность воплотить свои давние идеи. И что геноцид людской расы (который, как неоднократно подчёркивает Кэллис в этом сериале везде и постоянно) в современном мире воспринимается иначе, нежели 25 лет назад. И с БСГ он хотел сделать сай-файную драму больше драмой, нежели сайфайной, убрав явно театральные элементы и поместив реальных людей в реальные ситуации в фантастическом контексте. Эйк размышляет, что ремейки телевещей редко удаются, и в каком-то смысле умным ходом является подружиться с фанатами оригинала. Они хотели и подружиться с существующими фанатами и завести себе новую фан-базу. Фанат оригинального сериала Бамбер вспоминает, что увидев сценарий сначала не мог понять, зачем переделывать то, что уже существует и правильно существует. Но, когда он сценарий дочитал, это непонимание исчезло.
- Далее про сайлонов, которые со своими мигающими красным глазками стали символом ещё оригинального сериала. Мур решил отойти от оригинального сериала рассказав происхождение сайлонов и сделав их делом рук людей, которое вернулось. А эволюция сайлонов из железных роботов одновременно облегчает производственные проблемы и делает сериал более философским. Дальше Триша рассказывает про то, что Шестёрке нельзя хоть немножко не симпатизировать из-за того, что она влюбляется в Балтара, пусть даже она и ответственна за гибель миллиардов людей (вот фразу про то, что она не знает о сайлонстве я не поняла).
- Другим слегка меньшим изменением было то, что Старбак сменили пол. Мур говорит, что если сделать Старбак женщиной, но кроме этого оставить практически всё прежним, то в итоге всё становится иным. Получаются отношения, которых раньше зрители не видели. А вот Хатч наоборот считает, что замена Старбак и Бумер на женщин, это большая ошибка сериала. Потому что как бы не изменилось восприятие женщин за прошедшее время, смена персонажам пола полностью меняет этих персонажей. Кэти делится, что да, гнева относительно её роли было много, но она в каком-то смысле даже не против ибо это ей дало определённую цель в работе. Кэллис рассуждает, что всё логично. Сейчас у нас есть женщины военные пилоты, так почему бы им не быть на баттлстаре.
- Про изменения вообще. Хатч считает, что Мур очень талантлив, никто не спорит, и актёров он тоже нашёл себе талантливых. И он явно хочет исследовать тёмные уголки персонажей и истории, больше сосредоточиться на выживании в космосе и отношениях между людьми в такой ситуации. Оригинальный сериал этим тоже собирался заняться во втором сезоне, но им второго сезона не дали. А так Хатч подобное направление одобряет, но с классикой сай-фая нужно быть осторожным. Раймер проводит параллели с Шекспиром, который является величайшим человеческим писателем, а версий Ромео и Джульетты он сам видел множество и очень разных. И ничего, ни у кого нет с этим проблем. Мур считает, что новый сериал получился хорошим по всем параметрам, а если кто-то не будет его смотреть только потому, что он отличается от оригинального БСГ, то сами люди себе хуже делают. Олмос подтверждает, что то, что он видел получилось хорошо и действительно помещает зрителя в этот мир.
- Олмос продолжает про Адаму, который в этой версии сериала коммандер, который тяжело переживает необходимость уйти на пенсию. Бамбер вспоминает, что невероятное присутствие и харизма Эдди его самого когда-то подавляли, но в этом как раз и смысл персонажа. Кэллис пытается похвалить Олмоса, но в итоге сводится к тому, что лучше самим посмотреть.
- Плавный переход от старшего Адамы к младшему, с которым отец давно не виделся. Аполло обвиняет отца в смерти Зака, отец с ним не согласен. Хатч вспоминает, что его Аполло был как раз одним из героев, который делал правильные вещи и был неравнодушен к людям, их проблемам и своей работе. Джейми сообщает, что его Аполло не похож на оригинал, и на идеального героя, который всегда действует в интересах окружающих не похож. У него хватает недостатков, куча проблем в отношениях отцы-дети, и сам он себе не особо нравится. Вообще проблем у данного Аполло с отцом гораздо больше, чем в оригинале. У него очень сильная отцовская фигура, против которой он восстал и отверг, обвинив отца в смерти брата. В резултьате Аполло начинает сомневаться во всей своей предыдущей жизни, каковая есть военная карьера.
- От Аполло к Старбак. Кэти говорит, что Старбак очень сильный персонаж и ей никогда ещё не доводилось играть кого-то настолько уверенного в своих способностях и том, что она делает. Очень захватывающе. А точкой опоры для неё во время игры была драка с Таем, о которой она всегда думала, когда нужно было решить насколько Старбак сильная и взрывная. Помимо прочего Старбак ещё и очень сердитая. И Кэти было очень интересно подходить к ситуациям с мужкой энергией, уверенностью, но при этом с женскими эмоциями за этим всем. Эдди сравнивает Старбак с персонажами Джона Уэйна и добавляет, что она не только крута, но ещё и пилот отличный.
- Далее Эдди хвалит то, как Мэри играет и какая она молодец. Сама Мэри сообщает, что ощущает себя на одной волне с персонажем, и что ощущения невольного или подсознательного сдвига в сторону власти ей и самой знакомы. И что одно из ощущений от этих съёмок это как раз узнать, какого на самом деле женщине быть у власти. Эйк вспоминает, что они говорили что-то вроде "Ну знаешь, как Мэри МакДоннелл", но на самом деле её заполучить это слегка нереальное ощущение. Потому что люди периодически говорят, что "роль для вас писали", так вот, они на самом деле роль для неё писали. В плане "актёрский состав вашей мечты". А оно взяло и сбылось. Мэри тоже вспоминает, что её слегка шокировало, что ей предложили роль в БСГ, но она взяла сценарий почитать и её зацепило.
- Диалог Кэти с Диком Бенедиктом, который играл раньше Старбак(а), пересказывать сложно, ибо он весёлый, но смысла там мало. В общем-то Бенедикт смеётся, что он пытался роль получить ещё раз, хотя ему и сказали, что Старбак девочка. Затем он дарит Кэти "фирменную" сигару, которую сам же позже и пытается скурить, хотя висят таблички с запретом. Они с Кэти сходятся в том, что сцены в вайпере это хуже всего, и что они оба будут Старбаки, оптому что Бенедикт всегда будет единственным Старбаком мужского пола, тут у него конкуренции нет.
- Как правильно обзывается production designer я не знаю, но его очередь. Худолин рассказывает, что единственное, что нужно было обязательно перенести из старого сериала это вайперы Марк II, а всё остальное можно было делать по своему усмотрению. И у них была мысль о человек-и-машина, которую воплощали, разумеется, сайлоны. Мур привычно напоминает, что Галактика это такой авианосец в космосе, так что относятся они к ней как к авианосцу 45-60х годов. Эйк делится, что на БСГ помимо прочего сильно повлияли два фильма "2001" своим космосом, путешествиями и жизнью в космосе, и "Black Hawk Down" который смог реалистично показать реалии войны с минимумом сюжета. И поскольку до БСГ уже делали кучу космоопер, то они хотят что бы данный сериал не шёл по проторенной дороге, но всё равно был достоверен. Про достоверность самой Галактики Бамбер хвастается, что можно камеру приближать сколько угодно, с деталями всё на высшем уровне. Кэллис вспоминает, что когда первый раз актёрский состав привели на мостик, они чувствовали себя как дети на Шоколадной Фабрике. И хотя все знали, что коридоры построили только что, всё равно казалось, что они там уже лет двадцать стоят. Худолин про декорации сообщает, что хотели создать собороподобное ощущение, поэтому некоторые декорации вроде мостика или палубы действительно построены полностью. Мэри вспоминает, что из этих декораций она как-то успешно на Галактике заблудилась.
- Очередное изменение Мура - стиль съёмок. Он захотел изменить то, как воспринимают сай-фай сериалы. Он решил воспользоваться документальным стилем "вы там". Снимать по принципу Дискавери, а не канала SciFi Эйк тоже соглашается, что один из вариантов переизобрести жанр это делать его с уклоном в научную реальность и убедить зрителей, что то, что они видят, действительно происходит. При этом в цифровой вселенной это сложная вещь, потому что достаточно зрительскому взгляду зацепиться за какую-то неправильную деталь, и всё остальное им уже воспринимается в стиле "что же это я увидел, что испортило мне реальность". Худолин как пример, приводит, двери на петлях. Они призваны подчеркнуть, что корабль старый и готовится к списанию в музей. Мур уточняет, что Галактика это не Энтерпрайз, это не лучший корабль во флоте, и люди там не самые лучшие, а просто обычные, которые служат на готовом к списанию корабле.
- Худолин рассказывает, что раптор можно сказать основан на вертолёте Апаче, если внимательно присмотреться. Вообще с ним было весело, потому что дизайном занимались с нуля, а в итоге построили раптор полностью. И построили с рассчётом на то, что бы его можно было поднимать в воздух и расскачивать. Актёры в подобную возможность первый раз не поверили. Про издевательства над актёрами продолжает Бамбер, которому первым делом велели похудеть на четыре килограмма, а потом отправили в тренировочный лагерь с парой бывших морпехов. И это был его первый сай-фай сериал. Кэти вспоминает, что в лагере их было человек пятнадцать, все, кому по ходу сериала предполагалось сталкиваться с вайперами. Тренировки были изматывающими, но для неё довольно лёгкими, ибо она к тому моменту уже была в хорошей форме.
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15.09.2010 в 13:02- Помимо того в оригинальном сериале не было объяснено происхождение сайлонов. Слегка намекнули, что внутри костюмов возможно рептилии или что-то такое. В любом случае, Муру как писателю не интресен вариант "они плохие и ненавидят людей, потому что плохие". Бамбер рассказывает, что он тоже идею гуманоидных сайлонов поддержал, как только узнал. Очень поэтичный приём, что люди создали сайлонов, а те эволюционировали, стали независимы и вроде как хотят занять место человечества. Триша делится, что Шестёрка, конечно, сайлон и злая, но она не хотела делать её типичной злодейкой. Поэтому её сделали более симпатичной и уязвимой, что смотрится странновато, но кажется у них получилась. Такая пойманная между двух миров. Раймер делится, что он может помочь с игрой, но не может помочь с сексуальностью. Вот у Триши с этим проблем нет. У них даже мужчины съёмочной группы вели себя как идиоты постоянно в её присутствии.
- Кэллис вспоминает Балтара из оригинального сериала. Тот был на самом деле злым, слегка сумасшедшим и пугающим. И он сознательно решил, что его Балтар таким же не будет. Его Балтар компьютерный специалист, гений, падок на женщин, что его в итоге и губит, слегка трус. И Кэллис не хотел делать его несомненно злым. Скорее он просто влип в ситуацию, которую не может контролировать. А для человека, который любит, что бы всё шло именно так, как ему хочется, обнаружить себя в такой ситуации очень тяжело. Олмос хвалит Кэллиса за чувство юмора, говорит, что мало актёров за его карьеру могло его так рассмешить. И Балтару чувство юмора тоже нужно, как и вообще депрессивному сериалу.
- Дальше Аарон с Грейс выясняют, кто кого играет. Аарон в восторге от сериала и того, что он там играет и чинит корабли. Грейс рассказывает, что роль Бумер требует большой физической тренировки, что бы показать, что та физически на самом деле на равне с мужчинами. А вообще Бумер недостаточно любили в жизни.
- Дальше вспоминают, как они ходили на КомикКон и как им понравилось. Ожидали, что будет больше противников, но 90% фанатов выразили свою поддержку. Кэти смеётся, что если кто-то будет сердиться, что она играет Старбак, то она просто задерёт футболку. Джейми отвечает относительно темноты сериала и кровопролития, что БСГ это про человечество, а когда человечство загоняют в угол, то вся гамма эмоций выплывает наружу. Так во всех великих драмах, включая Гамлета, например. И в самом тёмном месте всё равно есть юмор.
- Хатч рассуждает, что тяжело взять сериал у которого уже три поколения преданных фанатов и изменить персонажей, отношения между ними и даже тон сериала. Он хотел бы смотреть сериал и видеть то, что сделал Мур и этим наслаждаться. Если ему удастся перебороть свои чувства относительно того, что сериал вернули таким вот совершенно иным образом, то он хочет узнать, кто же там за люди.
- Кэллис смеётся, что всегда будет весело, даже если он взорвал планету.
- Аарон предлагает, пусть старый сериал останется старым, а новый - новым. И что даже, если бы он в новом не снимался, он бы его всё равно посмотрел.
- Джейми признаётся, что в драке Аполло со Старбак без вопросов победила бы Старбак.
- Кэти перечисляет, что в БСГ есть замечательная история, персонажи, диалоги и экшен и даже пара секс-сцен.
- Эдди просто рекомендует всем поклонникам сайфая посмотреть, потому что им понравится.