Notice: Undefined index: title in /usr/www/users/bsgwiki/common/w/extensions/RSS/rss.php on line 139
首页 - Battlestar Wiki
FrakMedia!
Wiki Frakr
Battlestar Pegasus
Battlestar Forum
Battlestar Wiki Blog
Tuesday, April 25, 2017 (6:34 am CST)
Advertisement

首页

出自Battlestar Wiki

跳转到: 导航, 搜索
欢迎来到银河战星维基,
一个关于银河战星卡拉狄加故事的百科全书

— 共有 78 篇中文文章 —
警告:本维基可能包含剧情泄漏信息。请查看剧情泄漏方针了解更多细节。

最后播放
创建缩略图错误:/usr/local/bin/rsvg: not found

将要播放
创建缩略图错误:/usr/local/bin/rsvg: not found

信我者他

半斤八两—— 2008 年 4 月 11 日


德国 Deutsch美国 English西班牙 Español法国 FrançaisJP Japanese土耳其 Turkish
特色文章
首页/特色文章
播放日期

下一集:

美国 美国 -
信我者他 - 4 月 4 日周五晚 10 点
加拿大 加拿大 -
信我者他 - 4 月 4 日周五晚 10 点
英国 英国 -

重播以及特别播放日期:

美国 美国

Season 3 - Promo - Epi 1 - 2 - C-Number Eight, Adama, Helo.jpg 险境 - 于 2 月 9 日周六凌晨 5/4C 在科幻频道播出。
Litmus3.jpg 石蕊 - (高清) - 于 2 月 9 日周六晚 8/7C 在环球高清播出。



殖民舰队新闻服务
  • 即将开拍的前传系列卡布里卡的新演员阵容信息已经公布。
  • 新的戴维·艾克视频博客已经上线。许多演员和剧组成员已经提出问题,问戴维·艾克如何或者是否为了无敌女金刚而放弃银河战星卡拉狄加
  • 科幻频道将于东部时间 4 月 4 日周五 12:00 在官方网站上流式直播第四季首演:“信我者他”。跟其他内容一样,Sci Fi 脉搏视频只对美国居民开放。晚上本集在科幻频道的播放时间不变。
  • 痛苦挣扎近两年后,卡布里卡终于绿灯通过,将在春天开拍。另外,一个网络剧集的新系列和一个“社交游戏”大概将于 8 月中发布。[1]
  • 第三季 DVD 已经发布,并带有额外特写!除了删减场景、访谈、“抵抗”网络剧集和网播音频以外,还包括了“未竟使命”的扩展版本,带有超过 25 分钟的额外内容。通过 Amazon.com 订购.
  • BSG 的作曲家贝尔·麦克里里确定将于 4 月 13 日在洛杉矶 Roxy 夜总会进行现场演奏。本剧演员将作为主持人出现。根据贝尔的博客,所演奏的音乐都来自所有四季内容,将制作一部视频或者纪录片,而且一些非常特别的嘉宾会出席。[2]


搜索网络
<google></google>

谁能想到从财务上支持银河战星维基就像在搜索网络一样简单?从今天开始就使用上面的输入框搜索喜欢的主题!

特色项目
BSG WIKI Project.png
博之——想知道 Joe 的领导脑袋里在想什么吗?曾经想知道为什么一些事情不能进行吗?曾经觉得自己错过了维基的一些信息吗?如果是的话……看看银河战星维基博客,我们会在那里发布所有有关维基的重要通知。想要做出贡献吗?注册吧!
图片库
首页/特色图片
每日引用


博客
查看博客上有关本维基的新闻和更新情况!

Software Update Pending
We will be upgrading the software, and some other ancillary items, that run the Battlestar Wiki. We expect the process to be done over the course of this week, since it depends on how much time I Joe B. has at his disposal. We don’t really anticipate any major downtime, but as these things go… [...] [?]
Updated Registration Process
For new users of the Wiki, we have upgraded our registration process in order to better protect the Wiki against automated spammers, since OCR and randomly generated image captchas are becoming easier for bots to decode and solve. As of now, our registration process features a question to determine whether or not you are a [...] [?]
Battlestar Wiki to Go Dark on January 18 to Protest SOPA and PIPA
This is an official announcement that we will be going dark on after midnight of January 18 2012 to protest the Stop Online Piracy Act (which is now effectively dead) and it “lesser” twin the PROTECT-IP Act (which is still alive and kicking). As of now, the blackout will end after 12:01 AM Eastern time on [...] [?]
Galactica Geek Launches September 17th
If you’ve seen our previous blog post, you likely have a few questions as to what site we’re referring to, its objective, and other questions. The site in question is Galactica Geek, and its objective is nothing less than going above and beyond other fan sites. Structured as a news magazine, Galactica Geek will not [...] [?]
Looking for Writers to Contribute to BSG News Site
FrakMedia! Productions LLC is looking for a few people who want to write and contribute artwork, videos, and the like to a new Battlestar Galactica-centric science fiction news site. The general concept of the site is a focus on Battlestar Galactica in all its forms, including the Original Series and the prequels Caprica and Blood [...] [?]
Sit Rep: Update Progress
So far, we’ve successfully updated the MediaWiki software to the most recent version (1.16.4). We know of a few cosmetic changes that we need to do to the skins as a result of the update, but we will save those for later Monday as it is 1:30 AM EDT here, and those changes are minor [...] [?]
April Showers bring April Upgrades
So, we’re doing something that is a bit overdue, and that is technical upgrades to the Battlestar Wiki software. Please be advised that editing to any Wiki in the Battlestar Wiki network will be disabled beginning Sunday, April 17 at 10 PM EDT, so that we can ensure that we have the most current version [...] [?]
Press Release From EMP|SFM: Stars and Schedule Announced for Battlestar Galactica: The Exhibition World Premiere Weekend!
Stars and Schedule Announced for Battlestar Galactica: The Exhibition World Premiere Weekend: Oct. 22-24, 2010 at Seattle’s EMP|SFM New traveling exhibition opening weekend to feature BSG stars, three full-size spaceships, costumes and props from the original and re-imagined series plus VIP preview and panels. SEATTLE, WA—Experience Music Project|Science Fiction Museum (EMP|SFM) is proud to announce [...] [?]
Frakmedia PR Coordinator Runs Contest for FREE Axis & Allies Minis or War at Sea Booster
As PR Coordinator for Frakmedia LLC I get to do a lot of cool and fun things. One of these pertains to my personal gaming blog, the CWF Game Cast, where I discuss non-electronic gaming (RPGs, tabletop, historical, miniatures, collectible card/miniatures, etc) and New England/Massachusetts gaming in particular. Today is the first day of a [...] [?]
BSG Wiki Adopts P2 Theme = Improved Customer Service
I was reading Matt Mullenweg’s blog recently and saw a post that invigorated me. Matt blogged about the P2 theme for WordPress and how it changed Automattic (the makers of WordPress). At the BSG Wiki, and BSG Forum, we have a myriad of internal communication methods.  But, like Automattic there has always been a disconnect.  [...] [?]

罗纳德·D·穆尔博客
查看罗纳德·D·穆尔博客上关于银河战星卡拉狄加、他的世界以及其他一切的更新。

Originally posted on the SciFi.com forum:

I don't want this day to happen.

I want it to be rescheduled, rethought, removed and recalled.

Tomorrow the story will be over, my tale having been told, and never again will there be the sweet anticipation of waiting for the next episode to be shown to fans and friends. The thought of it makes my heart ache even as swells with pride.

All I know is that today there is a show called Battlestar Galactica and tomorrow there was.

There will be joy in that too, I'm sure, touching the thread of memory and feeling it resonate all the way back to soundstages, locations, cutting rooms, writers' rooms, and sound bays where I lived for all these years and being comforted by the knowledge that a part of me will never truly leave those places. There will be reunions and retrospectives, special editions and extended cuts, interviews and seminars. Solace can be found.

We'd called the last season Senior Year and here, today, as I prepare to present the final episode to an audience of friends, colleagues, and family, I find myself feeling the same way I did on Graduation day at Chowchilla Union High, all those years ago. The mosaic of faces I'd grown accustomed to seeing day after day would regroup for one last event, one last celebration of our lives together and what we'd done, and then it would be gone but for the transcendent threads of memory waiting to resonant down through the years. I didn't want that day to happen either and fervently wished for it to be rescheduled, rethought, removed and recalled.

Somehow I get the feeling that today's wish will not be granted either. So this day, like that one, will wax and wane and all I can do is ride the wave and let it carry me where it will.

Thank you, all of you for coming here through the years. The shippers and the haters, and everyone in between; you've watched and you've posted and you've been a touchstone for my experience with the audience ever since that night back in 2003 when we first declared that the Cylons were created by Man and things were going to be different. It's been a genuine pleasure to surf your thoughts, rants, questions, snarks, complaints, praise, and humor as you watched our story play out and rest assured I will be here again tomorrow poring through the posts, laughing, cursing, sometimes just shrugging at what you take away from this crazy show.

It's been an honor to be your storyteller.

Ronald D. Moore
About to be former Executive Producer of Battlestar Galactica [?]
The Technology that Betrays Me
Guys, the podcasting has not gone well this year.

As anyone who heard my last session can attest, I’m having audio problems with my recording set-up. I don’t know what the hell that whirring sound was, the only thing I can think of was that it might have picked up the fan on my laptop (??!!) somehow, someway. SciFi.com spotted the problem and did everything they could to minimize it, but ultimately the recording was nearly incomprehensible. In the spirit of wanting to get something out there, we decided to post it anyway.

Last week, I took extra care to check my levels on the mic, position the laptop far away and kept the DVD audio down to a low murmur. All sounded well on my level test, but after I’d completed the podcast for “The Hub,” I found, to my horror (and fury) that it still recorded the sound of the DVD too loud and my own voice -- my lips but inches from the mic -- was too buried to be audible.

So it’s been frakked.

Anyway, I’m going into a recording studio tomorrow, along with some of the writers and editors, and going to record the remaining podcasts in a marathon session so they’ll be available once more after the cliffhanger airs.

Sorry, folks. [?]
Curse of the Podcast
Now we’re dealing with server issues at SciFi.com.

What can I tell you?

The good news is there will be a bunch of podcasts waiting for you when they resolve the tech problems, the bad news is, I have no idea when that will be.

I’ll do this week’s and just keep chugging along and hope you guys can catch up eventually.

Thanks for being patient. [?]
Podcast Success!
They said it couldn’t be done, but the podcasts for 403, 404, and 405 have been completed and are now safely in the hands of SciFi.com.

In other news, I’ve begun writing the finale. It’s strange to think that this is the last Galactica script I’ll be writing, but at the moment that’s overshadowed by the anxiety surrounding the start of any first draft. (Blank pages tend to give writers all sorts of maladies. As in, “Is that a head cold or a brain tumor...?”)

We’re up in Berkeley for a few days, which has now become my preferred writing retreat. I’ve written three pages of the finale, and I’m already thinking about rewriting them, so this must be a good start. [?]
Podcast still no go
Yep, I’m still behind.

Can’t find the recorder I’ve been using, and the old silver model crapped out on me last night. So.... I got one of the editors to loan me something called the Rode Podcaster, which is the size and shape of a, ahem, marital device which will presumably allow me to record the sessions on 403 and 404 this weekend as well as a wealth of other more stimulating possibilities.

I’m trying. [?]
Yes, we have no Podcast
I know, I know.

I had all this time and I could’ve had the podcast for the first episodes waaaay before now so they’d be there waiting when the fourth season premiered.

But I didn’t.

Somehow, I thought I’d squeeze in a recording session here in Vancouver while I was directing (and the above photo is a iphone shot from my directing chair looking at one of the video monitors just before I called action) but that proved to be a one of my more foolish notions. So the podcast for Ep 1 of the fourth season will have to wait until I get back to LA, which means ya’ll won’t have it until later in the week.

Sorry.

But I’ll be more on time with the rest of them. I promise.

Unless I’m not.

I’ll also try to pound out a few blogs about the directing experience and update you on all things Galactica and Caprica.

Unless I don’t.

[?]
Leadership
At this moment, informal talks are underway between representatives of the AMPTP and the leadership of the WGA. A news blackout is in effect and there will be precious little, if any, word leaking out from the talks and we’re all going to have to get by with rumor, speculation and the precious bits of information that come from Nikki Finke.

This is a moment of trust.

Trust in the people we elected to represent our interests, to fight for our rights and to safeguard our interests for the future.

The Guild leadership and the members of the Negotiating Committee have put themselves out in front, taken the ill-informed knocks from the media, the calculated slander from the studios, and the cajoling, bickering, and Monday-morning quarterbacking of some elements within the membership itself and yet they’ve never wavered from their goals of trying to achieve the best deal for all of us and for the writers who will follow in our footsteps. The sheer number of arrows these people take on a daily basis on the internet alone rival the incoming fire at the Little Bighorn and it’s something of a miracle that not a single one of them has simply let loose in a tirade of vitriol and bile at their tormentors in some public forum. I’ve heard them accused of everything from seeking personal political gain to seeking to foment communist revolution over the course of the strike, but time and again they just keep coming back to the basic issues of fairness and justice in what they’re seeking for all of us.

They deserve our trust. And they damned well have earned it.

We can all sit around and bitch about how “we” would’ve handled the negotiations or about how “we” know what to do now, but the bottom line is that “we” aren’t in the hotseat and “we” haven’t spent the time and effort pouring over the endless details of the MBA for the last two years or immersed ourselves in the complexities of the emerging new media. The men and women on the negotiating committee and the board have put in the time, held themselves up to abuse and done the work that needed to be done.

Right now, we need to trust that they know what they’re doing and that they have the best interests of the membership in mind as they approach the new round of talks. Does that mean we have to rubber-stamp anything they want? Of course not. They’ll eventually be submitting something for us to vote up or vote down and we’ll have ample opportunity to debate the proposal on its merits. But now we need to give them the leeway to maneuver if they’re to be any real chance to get a good deal at the bargaining table.

The last thing we need is for writers to be bitching anonymously to the media (like Patrick Goldstein claimed in an incredibly slanted column this week) or, worse yet, for high-profile members (like a certain former president of the Guild) to be sending out public “letters” saying how the DGA deal is so great and putting public pressure on the negotiators to just take it already at the very moment they need to keep all their cards to themselves. It’s both foolish and self-destructive and they should all know better.

The leadership of the WGA did not trick us into a strike or stir up passions that did not exist. That 90% strike authorization vote made it abundantly clear that the leadership accurately reflected the very real sentiments of the members and there’s no call for any of us to suddenly start acting otherwise.

Hang tough. Trust your Guild leadership. And remember who the real opponent is out there. [?]
The Pencil Campaign Winners
So here they are, the winners of the Pencils2MediaMoguls campaign. Each of these fans bought boxes of pencils in the names of their favorite actors on Battlestar Galactica:

Aaron Douglas                            
Gregory Rosychuk     

Jamie Bamber                             
Mary Clark                
Kristen Halkola          
Mary Timm                 

Mary McDonnell             
Chris Bisgard              

Michael Trucco                           
Rene' Burl                 

Tricia Helfer                                
Yair Maimon       

Chris, Rene’ and Yair will be getting personal calls from Mary, Michael and Tricia, while Mary C., Kristen and Mary T will be getting towels personalized (we’ll just leave it at that) from Jamie and Gregory will actually be going to a Canucks game in Vancouver with Aaron.
Congratulations to all the winners and my great and heartfelt thanks to our cast for being so incredibly generous with their time and for their support during the strike. [?]
All Eyes on the DGA
It feels like we’re at a pivotal moment in the history of the WGA strike.

The Directors’ Guild is in the midst of negotiations with the AMPTP and there’s widespread speculation that a deal with be cut sooner rather than later. Once that happens, the strike will enter a new, and to my mind, crucial phase as the details of that pact are made public and the AMPTP then turns to the WGA and says, “Okay, this was good enough for the directors and it’s good enough for you too.”

Anything can happen at that moment.

At one end of the spectrum, lies the possibility that the DGA has a deal in place that so closely achieves the WGA position that the writers essentially declare victory and go home. Negotiations resume quickly, the remaining writer-specific provisions are dealt with promptly, a new contract is submitted to the membership for ratification and the strike ends.

At the other end of the spectrum lies the darker possibility that the DGA comes back with a deal that is so far removed from the WGA position that the writers summarily and angrily reject it. Resentment hardens and the writers settle in for an even longer struggle with the certain knowledge that the Screen Actors’ Guild will support them come June and the industry really shuts down.

And somewhere in between those extremes lies the less clear-cut (and unfortunately more probable) outcome where the DGA deal is a murky grab-bag of agreements, some of which are close to what the WGA wants, but others are nowhere near writers’ goals. Then we’re in uncharted territory, the path forward fraught with danger. The single biggest danger in that eventuality, to me, is the risk that the writers then begin to tear themselves apart with vitriolic statements over the relative merits of the DGA compact as people begin to stake out positions of absolutism over whether taking the DGA deal is “selling out” or refusing it is “mindless suicide.”

The rumblings of both positions are already out there on the periphery of the strike. You can hear them hovering around the edges of casual conversations whenever writers gather and in the hearsay and rumors that fly around the internet of secret cabals being formed or witch-hunts in the offing. None of this is surprising, of course. It’s a strike, after all. People’s lives are being affected, their homes at risk, their children’s futures uncertain -- the stakes are enormous. It would be unreasonable to think that with a membership in the thousands that there would not be crazies on both sides ready to ratchet up the rhetoric at the slightest provocation for no reason other than to raise the decibel level and get people charged up and angry. This is the kind of high-stakes, high-intensity situation that tends to bring out the best and the worst in any group and the WGA is no exception.

I, myself, initially felt the urge to condemn Jay Leno or Conan O’Brien for coming back on the air as undercutting the strike. But on reflection, I realized and acknowledged the very difficult position they found themselves in and even felt that if Jay really wants to take on the entire burden of putting “The Tonight Show” on the air himself that he was certainly having to carry a heavy load to do so. Also, his very public statements of support for his writers did count for me and I decided not to add my voice to those calling for his head. Do I think he’s crossing the line by writing his own monolog? Yes. Do I think he should be pilloried for it? No.

Likewise, I was somewhat shocked when Bill Maher, whose show I love and whose politics are somewhat close to my own on many subjects, made a statement on his premiere last week attacking the Guild leadership and making veiled references to witch hunts and being attacked for not supporting the strike strongly enough. As I thought about it, I realized that just as there are currents and eddies that I feel that pull and push at showrunners that are far from the public view, there must also be forces at work on someone like Maher that I can only imagine. The forces willing to demonize anyone, at any time for making some of the very difficult choices all of us have had to make during the strike are always lurking there in the background, ready to attack at a moment’s notice. And I’m not just talking about pro-strike people attacking those perceived to be “weak sisters” on the strike, there’s also a contingent out there ready to attack the Guild leadership as out for themselves or after political office or caught up in some kind of power grab. I’m talking about the people grumbling about going for “financial core” status or accusing the membership of being deluded sheep following their leaders over the cliff.

The fact is, this strike was authorized by a 90% vote in favor of going out. Ninety percent. That’s not even close. Everyone went into this with their eyes wide open and everyone knew this was going to be difficult and onerous, both financially and personally. We all walked out together and together is the only way we can walk back in.

My hope is that once the DGA deal is made public, that we engage in the inevitable debate that will follow with a civility and decorum that puts the lie to the idea that writers are their own worst enemies. We need to have a spirited debate over the terms we’re willing to accept, yes, but it’s important that we not let things descend into vicious attacks or set up armed camps. Honorable men and women can disagree on the true value of a percentage of internet advertising without it becoming a test of who is the “toughest” or who has “drunk the kool-aid.”

When the deal is announced and the terms of the DGA settlement are there for one and all to see, I urge my fellow scribes to resist the urge to demonize those who disagree with you over its acceptability. Remember that we’re all writers and we’re all in this together and that there’s really only one entity out there which has an actual interest in preventing us from securing a fair and reasonable contract, and that’s the AMPTP. [?]
Look! Up in the Sky!
Dig this:

The fans over at Fans4Writers have come up with a really interesting and ballsy idea. They’re going to hire skywriters to fly over the Rose Parade and aerially type messages supporting the WGA.

Now that’s creative.

The initial cash is being laid out by an anonymous fan, while the site is holding a silent auction of autographed Galactica scripts and other memorabilia to help with the costs -- so don’t let this one brave soul carry the whole burden, go over and see if there’s a script or two that catches your fancy.

I gotta say, I’m really impressed with the fans. They come out and join us on the picket lines in the wee hours of the morning, bring doughnuts, buy pencils, now they’re using the Rose Parade as an opportunity for Guild graffiti.

To all the fans, a great big thank you from me and the entire WGA for your efforts and your moral support, it’s greatly appreciated and believe me, it will be remembered long after this strike is over and done. [?]
Welcome Back, Dave
Just saw the news that Letterman’s World Wide Pants company has signed a side deal with the WGA and will be returning to the air with the entire writing staff.

Good for them and good for the WGA in cutting the deal.

There are some bitchy comments out there in the blogosphere from “unnamed” feature writers complaining that it’s somehow “unfair” that Letterman’s writers are going back to work and they’re not. The Guild has already stated as a matter of policy that they’re willing to negotiate deals with individual companies outside the umbrella (butterfly net?) of the AMPTP, so the fact that they’ve been able to pull off one such deal shouldn’t be the occasion for whining about how “I’m not working and they are,” it should be a time to celebrate the fact that at least one company doesn’t feel the Guild’s demands are ridiculous or particularly onerous. It should also be a time to congratulate the writers of the Late Show and wish them all well as they take back the airwaves and hopefully pepper the show with not-so-subtle digs at CBS, et al for keeping this strike going this long (they walked away from the table, you may recall -- twice, for those of you keeping score).

I know what’s getting a season pass on my Tivo. [?]
I like Ike
“We were engaged in the defense of a way of life, and the great danger was that in defending this way of life we would find ourselves resorting to methods that endangered this way of life.”

The president noted that the Joint Chiefs of Staff had told him, “we should do what was necessary even if the result was to change the American way of life. We could lick the whole world... if we were willing to adopt the system of Adolph Hitler.”

-- President Dwight D. Eisenhower, as quoted in the National Security Council declassified minutes of a meeting in Fall 1953, and as published in “Legacy of Ashes - The History of the CIA” by Tim Weiner, page 75.

(Photo: Eisenhower and John Foster Dulles, 1956/ Wikipedia) [?]
Yes, there is a Santa Claus
Just an outstanding day.

(No to put a damper on things, and I do have to check on this, but I think we’ve been mathematically eliminated from the playoffs.)



(Photo: Joe Rimkus Jr./Miama Herald Staff) [?]
Pencil Day
Here’s what I said:

Hello, I’m Ronald D. Moore, Writer and Executive Producer of Battlestar Galactica, and member of the WGA since 1989 -- and I’d like to welcome you to Pencil Day here at Johnny Carson park.

What you see behind me is the culmination of a grassroots effort on the part of thousands of television fans across the United States and in some cases, from overseas. A group of fans, led by Brenda Lawhorn, Chris Bridgesm, and Adam Levemore-Rich, but including many others, were looking for ways in which they could support the WGA during the strike. They put together a website: Fans4writers.com, where fans could come together and talk with each other as well as with the writers from their favorite shows, and these fans came up with what became the Pencils Campaign.

Some of you might remember the famous “nuts” campaign on behalf of “Jericho” where fans send packages of nuts to CBS to save the show from cancellation or the “Tabasco” campaign conducted to save “Roswell.” Well, these fans came up with the idea to send pencils to the moguls heading the major studios and networks represented at the bargaining table. Fans were able to buy boxes of pencils in the name of their favorite show for $1, which would then be delivered to each of the six major companies today.

The pencils will be delivered to:

Leslie Moonves, President, CEO/CBS Corporation
Jeffrey Immelt, CEO General Electric (NBC/Universal)
Rupert Murdoch, Chairman, CEO News Corporation (Fox)
Jeffrey L. Bewkes, President, COO Time Warner Inc. (Warner Brothers)
Robert Iger, President, CEO Walt Disney Company
Sumner Redstone, Chairman Viacom

In less than three weeks, the fans bought over a half a million pencils, which you see here today.

Simply put, the message they’re trying to send by this effort is that members of the audience itself – the market for our shows and films – both understand and sympathize with the position of the Guild and want a return to collective bargaining. Lest this be dismissed as a small group of fans, it’s worth remembering that recent national surveys have shown solid majority support for the writers in this labor dispute.

The WGA is still at the table, waiting for the studios to return to good faith negotiations. While we believe our proposals to be fair and reasonable, the Guild has always been willing to engage in legitimate bargaining on each point of the contract.

But we need a partner to negotiate with.

Issuing ultimatums, staging walk-outs and releasing factually-challenged press statements tinged with manufactured outrage does little to resolve this dispute. There is no reason why the studios cannot return to the bargaining table, sit down, and work out a fair and equitable settlement for everyone involved, and we hope that this symbolic action on the part of the fans will serve to remind the studios and networks that their audience is indeed watching and listening, and they know the difference between posturing and bargaining.
[?]
Trek Day at the Paramount Picket
Definitely one of the more surreal moments of the strike was marching with a sign outside the Melrose Gate, through which I’d driven for the first decade of my career. The sidewalk was so crowded and jammed with writers, actors, fans, and press yesterday that the biggest problem faced by many of us was finding a place to stand when the light turned red and we were expected to politely get back on the curb and let traffic go through the gate. A Trek-themed blues band, fronted by longtime Trek actor Vaughn Armstrong provided music and there were fans scattered here and there in TOS (that’s The Original Series for those non-Trekkers among you) uniforms.

But the thing that stuck with me the most was encountering random clutches of writers from my days in the 23rd and 24th centuries in this context. We were all older and grayer, to be sure, except for Ira Behr (above) who is bluer. But there was this common bond we all shared, this underlying sense of we’re all in the same club that I hadn’t really expected, perhaps because I hadn’t thought about it that much. I knew I’d be seeing friends and colleagues from days gone by, but I didn’t expect the sort of strong, immediate chord of recognition between us all and a sense that we were bound together by something that was both far in the past and yet still vital and alive there standing in the perpetual Hollywood sun. In between exchanging email addresses and catching up in small bursts of talk of family and friends, I found myself wishing that there were semi-regular gatherings -- reunions, really -- for those of us who worked on The Franchise.

We were family once, and it’s a shame that the kin never get together anymore. [?]
Towel for you?
No, I haven’t turned this into a porn site.

Or at least, not yet. I hear it’s quite lucrative.

Instead of a phone call, Jamie has offered to sign and donate three worn (as in actually worn, not threadbare) towels to the Pencils campaign. The first two will go to the fans who buy the most pencils in Jamie’s name, while the third will be raffled off at random. The towels will be yours to do with as you wish (insert your joke here) but any and all cloning will be subject to the appropriate international treaty restrictions.

[?]
More Pencil Rewards
The potential rewards for fans buying into the Pencils2MediaMoguls campaign just got bigger:

Mary McDonnell, Tricia Helfer, Michael Hogan, Jamie Bamber, and Michael Trucco have all agreed to make a personal phone call to fans who win the raffles in their names. The way this will work is simple: when you go to the Pencils site, the first box you’ll see asks you the name of the show you wish to support. Type in “Battlestar Galactica” and then the name of one of these actors, and your name will then be automatically entered into a raffle, with the winner in each category receiving a personal phone call from that actor. You can certainly buy boxes of pencils for more than one actor, but each box can only be assigned one name.

Also, in the event that the winner of the Aaron Douglas raffle is not in Vancouver, or cannot travel there (on their own dime), Aaron has offered to make a personal phone call to that fan and send a piece of signed memorabilia.

This is a really great and generous offer from our cast members and it could be a once in a life-time chance to get to talk to them, so take advantage of the opportunity and help us drown the moguls in pencils! [?]
Pencils and Rewards
Okay, this is pretty cool.

How would you like to go to a hockey game with the Chief?

That's right, our own Aaron Douglas will take one fan to a Canucks hockey game, along with another buddy of his up in Vancouver.  And how can you score this treat?  Simple.  By going to Pencils2MediaMoguls.com and buying as many boxes of pencils as you can.  On the first page (which is a subset of United Hollywood) you'll see a place to identify which show you're supporting.  Type in "BSG Aaron Douglas" and we'll enter your name into a raffle, with the lucky winner getting to attend the hockey game with Aaron.

In case you haven't heard, the Pencils Campaign is designed to send a huge amount of pencils to the major studios as a symbol of fan support for the strike.  More information can be found on their website.

Look for other offers from other members of the Galactica cast in the near future -- no idea what the offers will be or how many there may be.  I'll keep you informed.
[?]
The Trek Journals -- One in an Occasional Series
For no apparent reason, I’ve been thinking a lot about my early days at Star Trek, back when the Hart Building (above, photo by Ethan Calk) boasted an elevator paneled in faux walnut, and the ghost of Orson Welles was stalking secretaries on the third floor. Maybe it’s because the newest film in the franchise has begun shooting, or maybe it’s because I’m just getting up there in years and starting to think back on ye olde glory days.

In any case, a blog certainly provides a handy forum for the occasional memory dump, and since there are still a fair number of people out there interested in all things Trek, I thought I’d put down some of the experiences I had in the Hart Building now rather than saving them all for that fanciful day when I attempt to write the tell-all memoir that rips the lid from the pot of science fiction stew and lets the greasy fat boil to the surface like.... well, you get the idea.

The Hart Building was the only place where the writers of Next Gen were housed (or confined, depending on how you looked at it). No other production offices were located in the building, which loomed over the Paramount dining room and commissary, nor were any other members of the production especially eager to enter the premise since the comings and goings into our building were easily monitored from the windows and balcony of the vaguely Stalinistic structure of the facing Cooper Building directly across the way, and visiting the writers was something that was very much frowned upon from on high.

Cooper housed the central offices for the production, and was the place everyone eventually made pilgrimage to seek additional monies or approvals. There was something about climbing the steep staircase to the second floor of Cooper that seemed to suck the joy out of your day as you prepared to do battle of one form or another upon entering the soulless conference room or the corner office of the Executive Producer. Cooper was a battlefield, plain and simple and the people who lived and worked there day after day tended to have their version of the thousand meter stare peeking out from eyes eternally red-rimmed from too many late nights spent trying to get shooting wrapped before going into overtime.

In the Hart Building, we tended to view the denizens of Cooper as the People Most Likely To Get In The Way of the Story. Scripts were inevitably labeled as too expensive and too long, and production meetings were essentially exercises in finding creative ways of saying that any given set could not be built in the time and budget allowed and why couldn’t the action be moved into the Ready Room? Not to mention, the dread process of giving script notes was also doled out in Cooper, and thus the entire structure soon became the focal point of our collective psychic loathing. Many were the days when the third season writing staff would look out the windows from the fourth floor corner office of the writing team of Hans Biemler and Richard Manning (later to become my own office) and gaze down on Cooper with bitter recriminations and sometimes outright hatred for what had been done to one of “our” scripts “over there.”

At some point, Hans and Ricky discovered that it was possible to actually tell which page of a script was being discussed in Rick Berman’s office with a pair of binoculars and this led to covert gatherings whenever we knew that Michael Piller had been summoned for a “Rick Meeting.” We would crowd the window and trade the two pair of binocs usually at hand to get the perfect view of the script in question, which would invariably be on the coffee table in front of Rick’s chair, while Michael’s sneaker shod feet would just be visible. Rick’s script notes were sometimes visible in his thick red pencil and we would follow along with our copies as he would point to a line of dialog and begin gesticulating with varying degrees of animation, depending on the severity of the note. This went on for some months, until Rick remodeled his office and added shutters to the windows, which brought an end to regular surveillance.

The Hart Building itself was one of the older structures on campus and it certainly showed its age in ways large and small. One of the more charming leftovers from the golden era of the studios was the fact that at least four of the offices had full-blown wet bars still in them. We often marveled at the idea that the three martini lunch was not only countenanced, but also brought back and continued in one’s office. Unfortunately, the big offices with the bars weren’t ours to stock, and we had to make due with single bottles of Chinaco tequila or Jack Daniels hidden away in drawers and were, in truth, more talked about than consumed. The elevator was its own horror; a tiny cubicle, barely able to accommodate four adults, paneled in something godawful, and featuring a slow, noisy, clanking as it chugged its way through the vertical plane and gave everyone a fit of claustrophobia whenever the de rigueur comment about being trapped there during an earthquake was made. (Years later, the elevator was replaced with a newer and presumably, safer model, but during construction it was learned that the entire fourth floor was a hasty add-on slapped atop the building some time in the distant past. As one of the workers observed, “During a real quake, the entire fourth floor would probably slide right the hell off.”)

In that first year, I occupied the smallest and least desirable office: fourth floor, hard by the stairs, a space quite literally the size of a walk-in closet, with a lovely view of a rooftop and back alley. One desk, one guest chair and a small bookcase cramped the space to the point where few ever came to visit for more than ten minutes. My computer was a dinosaur even by the standards of 1989, with amber letters glaring out from a black screen, and a double-bank of 5 1/2 inch floppy drives. Printing could be had down on the first floor but required walking said floppy down there and waiting on a printer to free up. Phones were thankfully push-button, but still in the generic Ma Bell set-up with a red hold button and five white lines, only two of which actually worked. While the typing pool was still technically in business at Paramount, its days were clearly numbered and few writers were actively using its services. Some writers on staff were still hand writing scripts on yellow legal pads and handing them off to secretaries (“assistants” then only just coming into vogue) but most of us were using Microsoft Word with a Scriptor Style sheet to write our episodes. The many intricacies of the Style sheet eluded me, but basically it was a way to format all the scripts in a uniform way and yet still required a Script Coordinator to sort through all the various bugs and errors that would crop up in every script.

Reams of paper floated about the building and clogged every office. Each script would go through multiple revisions, from story outline to final shooting draft and keeping the pages of your script current was a daily chore until you rated a share of some secretary/assistant’s time. Added to the sometimes hourly delivery of colored script pages were call sheets, shooting schedules, story memos, production memos, budget memos, and various other documents that may or may not have been delivered to the right office with cryptic titles like “Actor Day Out of Days,” all of which meant that every writer’s office was covered in a perpetual blanket of paper.

I began the habit early on of collecting and saving every last scrap of Trek related paper that came into my possession, on the theory that I may not be around these offices for very long and I should hold onto everything I could get my hands on. Ten years later, this impulse would result in very large fire hazard in my garage and my casting about for some institution to take this material off my hands and that’s how it came to be in the possession of the University of Southern California’s Film and Television Library where it resides to this day. I’ve often thought of going down there and going through those old three-ring binders to refresh my memory of those early days, but, of course, I never have. I’m not sure if it’s because it’s too much time and too much of a hassle or it’s because I’m afraid of having to read my own early drafts.

Probably both. [?]
The True Fan
My brother Mike and my long-time friend Naren Shankar (of CSI fame) had the same comment on the above photo:

“I’m impressed. It takes a lot of guts, integrity and inner strength to go out there and wear a Miami Dolphins hat.”

To which I can only reply that it’s easy to support the team in the fat years, it’s the lean years that provide the true test of the fan.

Go ‘Fins. 6-10 is still possible.

Yes it is. Believe.

Shut-up. [?]
The Razor Featurettes
Just so there’s no confusion, I’d like to make the distinctions clear between the two minute “featurettes” (or whatever we’re calling them these days) from “Razor” and last year’s “Resistance” webisodes that preceded the Season Three launch. I’ve given several interviews regarding the history of the webisodes and how the studio initially wanted to call them promotional material and not pay anyone, then finally relented on payment, only to refuse to provide credits in the end and forcing me to post them on my blog at SciFi.com.

The distinction between the two is that webisodes were new material created specifically for the internet, while the featurettes are really little more than deleted scenes from “Razor.” In the first instance, we were being asked to write and produce new material without compensation or credit, while in the second we simply repurposed existing material that would otherwise end up on the cutting room floor. That’s not to say that the featurettes weren’t subject to a great deal of haggling and negotiation with the studio over issues of reuse and credits -- they were. But in the end, I agreed to go with the featurettes while still refusing to produce more webisodes because I felt that using existing scenes in this format was different than creating new stories. Hopefully, the new contract that gets hammered out between the studios and the writers’ guild will clear up all of this and provide enough clarity so that showrunners like myself won’t have to be in the position of making these calls on a case by case basis. [?]
Galactica wraps
Production wrapped on episode 413 late last night, and there’s no certain date to resume shooting. No more scripts exist. My office staff has been laid off. My cast has been suspended, without pay.

I refuse to believe that we won’t finish, that we won’t be back to film our final stories, but I know and accept there is that possibility. The strike will be a seminal event for many of us in this business as it’s put literally everything we care about in the balance (if only for a short time so far) for something we all believe is important.

Writers talk a lot about the strike, about the reasons we’re out on the picket lines and our feelings and experiences in the business. It’s been an interesting three weeks. I’ve connected with more scribes in the last few weeks than in many months before and I come away from it to date with a sense of optimism about the solidarity of the membership and admiration for my peers.

Galactica’s coming back, I frakking promise you that. But I am ready to put the rest of the story on the table and take the risk that I’ll never be able to tell it, in support of this strike.

Like Adama says, you make your choices and then you live with them.

Still.

A helluva gamble. [?]
The Razor Podcast
Instead of the customary podcast commentary for next week’s showing of “Razor,” there will be a recording I made of the original break session where the writers first pitched me the story. The podcast was recorded at my house with the entire writing staff, minus Mrs. Ron, who opted not to know anything about the story until it was completed. A separate commentary track will be available on the DVD version that Michael Taylor and I recorded in the studio. (Don’t worry, I brought along the obligatory bottle of scotch.)

So far, the response to “Razor” has been very positive from both the critics and from the few screenings that we’ve had, so I’m hopeful that it’ll be well received by one and all.


Fans4Writers.com [?]

银河战星维基友情站点
维基百科 门世界 阿尔法记忆 BSG 网播 未来和过去之片段 殖民舰队 4400
社区休闲室
官方网站 官方演员/制作人员网站 剧迷新闻 剧迷网站

SciFi 频道官方银河战星网站
罗纳德·D·穆尔的银河战星博客
Sky One 官方银河战星网站

亚伦·道格拉斯(蒂罗尔)
迈克尔·特鲁科(安德斯)
阿洛斯诺·奥亚尔顺(苏西尼)

门世界银河战星卡拉狄加新闻
卡拉狄加站
bsgtns.com(也就是 galactica2003.net)

BSG 每周视频讨论
战星无限
Media Blvd 的卡拉狄加论坛

来源引用
  1. Gough,Paul J.,"SciFi 揭示“银河战星”前传",好莱坞记者,2008 年 3 月 18 日。于 2008 年 3 月 19 日 获取。
  2. 贝尔·麦克里里音乐会