September 6 - Part 1 of 3
http://josephmallozzi.wordpress.com/...akdown-part-1/
Well, as promised, I’m dedicating today’s blog entry to a post-Whispers blow-by-blow. Since I was on set for this episode, I have plenty to talk about and, over the course of this breakdown, I’ll touch on a variety of subjects including revised scenes, deleted footage, and on-set anecdotes. And, seeing as how it looks like I’ll have a lot to say on this one, I may well run out of steam and have to pick things up tomorrow.
Before I get started, I’d just like to remind everyone that Will Waring, director of Whispers and countless other SG-1 and Atlantis episodes, has agreed to do a guest blog here, so start posting your comments. Quick, before he changes his mind!
To Das who asks: “What was your mindset while writing Whispers? Dead serious, tongue-in-cheek, something else?” Definitely tongue in cheek popcorn fun, from Carpenteresque fog to the Ringesque well crawl. In fact, Sheppard’s line late in the episode neatly summed up the spirit of the episode: “Great. Now all we need is for the prom queen and the kid in the wheelchair to wander off and we’re all set.”
Today’s pics: Behind the scenes on Whispers.
Today’s video: Stage 2 walk-thru II (up until the point where my camera battery died on me).
THE TEASE
EXT. FOREST - NIGHT: A couple of locals run into a spot of bad luck.
This scene wasn’t in the first draft which actually started on Atlantis with Sheppard informing Beckett that Major Teldy’s team had found something off-world (the original end of tease was the reveal of the lab with Sheppard and Beckett). However, the network and Rob felt the script needed some action off the top. I thought about it and came up with this scene that 1) established the creepy mood we’d be touching on later in the episode and 2) offered me a way of working the gas masked figure (Michael) into the episode. Also, given that I wanted this episode to follow the traditional horror flick structure, I felt that a scare off the top was a terrific idea. The one point I was resolute about, however, was that we not reveal the look of the creature. Not here. Not yet. I also thought it important to establish some sort of unique sound for the creatures, something we could establish early and then use as a cue later in the episode to signal their approach. Editor Mike Banas came up with a temporary solution, a variation on a dolphin’s chittering which I found very effective. So effective, in fact, that when a new sound was created for the Day 1 mix, I asked them to put Mike’s original creation back.
Somebody asked about the creature twitching here and later in the episode. Some of it was actor action while some of it was the work of editor Mike Banas who lifted a frame or two from the cut to five the movement a peculiar, almost inhuman feel. He does this great effect later in the episode: 1) When the creature first spots Beckett in the fog and bares its teeth and 2) With the creature on the wall over Beckett’s head.
This was one of the last scenes we shot for this episode (yep, we shoot out of sequence for those who didn’t know). I remember it was very late and Will had set up a crane shot to open the scene. I was standing by the monitor, watching them rehearse and, as I stepped over to take my seat, the crane knocked over a ladder that came crashing down onto the spot where I’d been standing. Terry, our script supervisor, looked up at me, shocked, and informed me that if I hadn’t moved, they’d have been calling an ambulance for me.
INT. CATACOMBS - DAY: Major Teldy’s team make a mysterious discovery.
This scene wasn’t in the first draft either. Rather than pick things up one year later on Atlantis, I thought this scene would help make for a smoother transition. I love the look of the catacombs - slick and dark - and have to credit director of photography Michael Blundell for doing such a great job on, not only the catacombs, but this episode in general.
INT. BECKETT’S QUARTERS - DAY: Beckett and McKay chat. Sheppard enters with the news.
We wanted to have Beckett back for five episodes but we were faced with a bit of a problem. If he was back on Atlantis, then why weren’t we seeing him every episode? If he was back on Earth, then why was he coming back to Atlantis? In the end, I came up with a compromise solution: Beckett was going to participate in the Pegasus equivalent of Doctors Without Borders, heading off to treat the victims of the Hoffan plague. This would establish his presence in the galaxy and allow him quick access to Atlantis (and vice versa) should the need ever arise.
Given that this episode was running long, I had to make some significant trims to this scene, including a reference to Carson’s wee turtles which I named Michelle and Jeffrey after two of Paul’s most fervent supporters (if there had been a third turtle, I’d have called her Jen but, hey, I figured the letter of reference bought me some good will). Anyway, here’s the scene as originally scripted:
#McKay looks on as Beckett packs up his belongings.MCKAY: I can’t believe this. You were sick. We cured you. You go away for six months to recover. And then, finally, you come back - and only stay for a week before leaving again.
BECKETT: I’m sorry, Rodney, but I’ve come to realize that, for the time being, my place isn’t here.
MCKAY: Of course it is. Are you kidding me? It’s just like old times. You’re back on Atlantis, back in your lab, doing…whatever…it is you’re doing. This is great!
BECKETT: No, it isn’t. As a doctor, I can’t simply sit by while people in this galaxy are suffering. Especially since I had a hand in what’s happened to them.
MCKAY: You can’t blame yourself. Michael forced you to help him. He was the one who disseminated the drug.
BECKETT: And I was the one who helped the Hoffans perfect it.
McKay considers. Then -
MCKAY: Come on. You know how many times I’ve screwed up? Lots.
MCKAY: (then correcting himself) Well, not “lots”, certainly less than the average person, but still - it does happen. On occasion. (beat)Very rare occasions.
BECKETT: I have an opportunity to help these people, Rodney. To save some lives. And sleep a little better knowing that I’m making a difference.
Beckett glances up, notes a downcast Rodney. He adopts a more positive -
BECKETT: Besides, now that I’m back in the Pegasus galaxy, I’m just a step through the gate.
MCKAY: So you’ll be dropping by to visit?
BECKETT: Whenever I can.
Beat.
BECKETT: Oh, I’ll be taking my turtles with me.
McKay, clearly reluctant to part with them -
MCKAY: Well, technically, they’re not really YOUR turtles. I mean, to be fair you wouldn’t have even known about them if I hadn’t told you -
Off Beckett -
MCKAY: But if you want them - fine.
Doing a poor job of disguising his disappointment -
MCKAY: By the way, little Jeffrey likes carrots so try to include a couple of slivers with each meal. And little Michelle really enjoys these cuttlebones Jeannie sent over -
BECKETT: Now that I think about it, I’ll be moving around a lot. I realize it’s a bit of an inconvenience, but would you mind taking care of them a little longer?
MCKAY: Sure. Okay.
Sheppard enters.
BECKETT: Colonel, you’re just in time to give us a hand.
SHEPPARD: Actually, doc, you’re going to have to delay your travel plans. We just got word from Major Teldy.(beat) Her team has found another one of Michael’s labs.
Off Beckett -
ACT ONE
EXT. FOREST - DAY: Sheppard and Beckett meet Teldy’s team.
I didn’t want Sheppard and co. to have access to a puddle jumper, so I established early on that the area is heavily forested (something we emphasize later on) and only accessible on foot. Martin Gero suggested I go a step further and make it even more inaccessible, so I added the reference to having to rappel down the mountainside.
This scene was shot on location on one of the coldest days in recent memory. Every time Will yelled “Cut!”, the actors would scurry over to a heater that had been set up for them in a tented area. When Glenn Mowat, our craft service specialist, wheeled out some chicken soup, I was one of the first in line - not because I like chicken soup but because I needed the cup to warm my hands. Anyway, it was a crisp day but the actors enjoyed themselves. I love the way Paul plays Beckett here - initially weary and complaining about the long walk and then suddenly spry as he jogs after the women. Joe and Paul had a lot of fun with their walk and talk and subsequent meeting with the all-female team, adlibbing the fist bump at the end of this scene.
And, since many of you are asking why Sheppard had to be introduced to Teldy’s team - while Sheppard is the base’s military commander, he seems significantly more off-world action than desk duty. While he certainly keeps updated on the individuals shuttling in and off the city, he doesn’t necessarily meet all of them so he might be surprised to learn that the Dr. Porter and Sgt. Mehra he was apprised on are actually women. Furthermore, the various team leaders (in this case Major Teldy) have the autonomy to put together their own teams. And since, as suggested in this team, Teldy’s team is new, it’s not that incredible that Sheppard would need an introduction.
Also, for those wondering about Sheppard’s turtleneck - that was a game day decision by Joe.
INT. MICHAEL’S LAB - DAY: Teldy’s team lead Sheppard and Beckett to the lab.
A great-looking lab that is actually about half as big as it looks onscreen. The back wall is actually a matte extension that gives the chamber more depth and, of course, room for more stasis pods. As for the mysterious figures in those pods - they’re mannequins.
A couple of references to our season four finale and season five premiere, The Last Man and Search and Rescue, which I’m sure most of you picked up: Sheppard’s line “The last thing I need is three tons of rubble falling on my head again.” and Porter’s informing him that she disabled the security protocols thanks to the lesson McKay learned the last time he attempted to access Michael’s data.
EXT. FOREST - DAY: Sheppard, Teldy, and Vega make their way to the village.
The dialogue in this scene seemed to change with each subsequent draft. In the first, Vega’s complaint about not having the puddle jumper handy leads to a discussion of the midway station and the IOA’s reluctance to re-establish the gate bridge because of the events of Midway. Eagle-eyed (or eared) readers of this blog will recognize this dialogue as part of the deleted Sheppard-Caldwell conversation from Kindred I. It didn’t make the cut here either. Teldy’s character went from Major to Colonel and back to Major, and in one version in which she was a Colonel, she gave Sheppard a good-natured ribbing. Ultimately, however, it felt inappropriate and my writing partner, Paul, argued that making her of equal rank diminished Sheppard’s status on Atlantis. So, this scene was changed yet again but, for what it’s worth…
http://josephmallozzi.wordpress.com/...akdown-part-1/
Well, as promised, I’m dedicating today’s blog entry to a post-Whispers blow-by-blow. Since I was on set for this episode, I have plenty to talk about and, over the course of this breakdown, I’ll touch on a variety of subjects including revised scenes, deleted footage, and on-set anecdotes. And, seeing as how it looks like I’ll have a lot to say on this one, I may well run out of steam and have to pick things up tomorrow.
Before I get started, I’d just like to remind everyone that Will Waring, director of Whispers and countless other SG-1 and Atlantis episodes, has agreed to do a guest blog here, so start posting your comments. Quick, before he changes his mind!
To Das who asks: “What was your mindset while writing Whispers? Dead serious, tongue-in-cheek, something else?” Definitely tongue in cheek popcorn fun, from Carpenteresque fog to the Ringesque well crawl. In fact, Sheppard’s line late in the episode neatly summed up the spirit of the episode: “Great. Now all we need is for the prom queen and the kid in the wheelchair to wander off and we’re all set.”
Today’s pics: Behind the scenes on Whispers.
Today’s video: Stage 2 walk-thru II (up until the point where my camera battery died on me).
THE TEASE
EXT. FOREST - NIGHT: A couple of locals run into a spot of bad luck.
This scene wasn’t in the first draft which actually started on Atlantis with Sheppard informing Beckett that Major Teldy’s team had found something off-world (the original end of tease was the reveal of the lab with Sheppard and Beckett). However, the network and Rob felt the script needed some action off the top. I thought about it and came up with this scene that 1) established the creepy mood we’d be touching on later in the episode and 2) offered me a way of working the gas masked figure (Michael) into the episode. Also, given that I wanted this episode to follow the traditional horror flick structure, I felt that a scare off the top was a terrific idea. The one point I was resolute about, however, was that we not reveal the look of the creature. Not here. Not yet. I also thought it important to establish some sort of unique sound for the creatures, something we could establish early and then use as a cue later in the episode to signal their approach. Editor Mike Banas came up with a temporary solution, a variation on a dolphin’s chittering which I found very effective. So effective, in fact, that when a new sound was created for the Day 1 mix, I asked them to put Mike’s original creation back.
Somebody asked about the creature twitching here and later in the episode. Some of it was actor action while some of it was the work of editor Mike Banas who lifted a frame or two from the cut to five the movement a peculiar, almost inhuman feel. He does this great effect later in the episode: 1) When the creature first spots Beckett in the fog and bares its teeth and 2) With the creature on the wall over Beckett’s head.
This was one of the last scenes we shot for this episode (yep, we shoot out of sequence for those who didn’t know). I remember it was very late and Will had set up a crane shot to open the scene. I was standing by the monitor, watching them rehearse and, as I stepped over to take my seat, the crane knocked over a ladder that came crashing down onto the spot where I’d been standing. Terry, our script supervisor, looked up at me, shocked, and informed me that if I hadn’t moved, they’d have been calling an ambulance for me.
INT. CATACOMBS - DAY: Major Teldy’s team make a mysterious discovery.
This scene wasn’t in the first draft either. Rather than pick things up one year later on Atlantis, I thought this scene would help make for a smoother transition. I love the look of the catacombs - slick and dark - and have to credit director of photography Michael Blundell for doing such a great job on, not only the catacombs, but this episode in general.
INT. BECKETT’S QUARTERS - DAY: Beckett and McKay chat. Sheppard enters with the news.
We wanted to have Beckett back for five episodes but we were faced with a bit of a problem. If he was back on Atlantis, then why weren’t we seeing him every episode? If he was back on Earth, then why was he coming back to Atlantis? In the end, I came up with a compromise solution: Beckett was going to participate in the Pegasus equivalent of Doctors Without Borders, heading off to treat the victims of the Hoffan plague. This would establish his presence in the galaxy and allow him quick access to Atlantis (and vice versa) should the need ever arise.
Given that this episode was running long, I had to make some significant trims to this scene, including a reference to Carson’s wee turtles which I named Michelle and Jeffrey after two of Paul’s most fervent supporters (if there had been a third turtle, I’d have called her Jen but, hey, I figured the letter of reference bought me some good will). Anyway, here’s the scene as originally scripted:
#McKay looks on as Beckett packs up his belongings.MCKAY: I can’t believe this. You were sick. We cured you. You go away for six months to recover. And then, finally, you come back - and only stay for a week before leaving again.
BECKETT: I’m sorry, Rodney, but I’ve come to realize that, for the time being, my place isn’t here.
MCKAY: Of course it is. Are you kidding me? It’s just like old times. You’re back on Atlantis, back in your lab, doing…whatever…it is you’re doing. This is great!
BECKETT: No, it isn’t. As a doctor, I can’t simply sit by while people in this galaxy are suffering. Especially since I had a hand in what’s happened to them.
MCKAY: You can’t blame yourself. Michael forced you to help him. He was the one who disseminated the drug.
BECKETT: And I was the one who helped the Hoffans perfect it.
McKay considers. Then -
MCKAY: Come on. You know how many times I’ve screwed up? Lots.
MCKAY: (then correcting himself) Well, not “lots”, certainly less than the average person, but still - it does happen. On occasion. (beat)Very rare occasions.
BECKETT: I have an opportunity to help these people, Rodney. To save some lives. And sleep a little better knowing that I’m making a difference.
Beckett glances up, notes a downcast Rodney. He adopts a more positive -
BECKETT: Besides, now that I’m back in the Pegasus galaxy, I’m just a step through the gate.
MCKAY: So you’ll be dropping by to visit?
BECKETT: Whenever I can.
Beat.
BECKETT: Oh, I’ll be taking my turtles with me.
McKay, clearly reluctant to part with them -
MCKAY: Well, technically, they’re not really YOUR turtles. I mean, to be fair you wouldn’t have even known about them if I hadn’t told you -
Off Beckett -
MCKAY: But if you want them - fine.
Doing a poor job of disguising his disappointment -
MCKAY: By the way, little Jeffrey likes carrots so try to include a couple of slivers with each meal. And little Michelle really enjoys these cuttlebones Jeannie sent over -
BECKETT: Now that I think about it, I’ll be moving around a lot. I realize it’s a bit of an inconvenience, but would you mind taking care of them a little longer?
MCKAY: Sure. Okay.
Sheppard enters.
BECKETT: Colonel, you’re just in time to give us a hand.
SHEPPARD: Actually, doc, you’re going to have to delay your travel plans. We just got word from Major Teldy.(beat) Her team has found another one of Michael’s labs.
Off Beckett -
ACT ONE
EXT. FOREST - DAY: Sheppard and Beckett meet Teldy’s team.
I didn’t want Sheppard and co. to have access to a puddle jumper, so I established early on that the area is heavily forested (something we emphasize later on) and only accessible on foot. Martin Gero suggested I go a step further and make it even more inaccessible, so I added the reference to having to rappel down the mountainside.
This scene was shot on location on one of the coldest days in recent memory. Every time Will yelled “Cut!”, the actors would scurry over to a heater that had been set up for them in a tented area. When Glenn Mowat, our craft service specialist, wheeled out some chicken soup, I was one of the first in line - not because I like chicken soup but because I needed the cup to warm my hands. Anyway, it was a crisp day but the actors enjoyed themselves. I love the way Paul plays Beckett here - initially weary and complaining about the long walk and then suddenly spry as he jogs after the women. Joe and Paul had a lot of fun with their walk and talk and subsequent meeting with the all-female team, adlibbing the fist bump at the end of this scene.
And, since many of you are asking why Sheppard had to be introduced to Teldy’s team - while Sheppard is the base’s military commander, he seems significantly more off-world action than desk duty. While he certainly keeps updated on the individuals shuttling in and off the city, he doesn’t necessarily meet all of them so he might be surprised to learn that the Dr. Porter and Sgt. Mehra he was apprised on are actually women. Furthermore, the various team leaders (in this case Major Teldy) have the autonomy to put together their own teams. And since, as suggested in this team, Teldy’s team is new, it’s not that incredible that Sheppard would need an introduction.
Also, for those wondering about Sheppard’s turtleneck - that was a game day decision by Joe.
INT. MICHAEL’S LAB - DAY: Teldy’s team lead Sheppard and Beckett to the lab.
A great-looking lab that is actually about half as big as it looks onscreen. The back wall is actually a matte extension that gives the chamber more depth and, of course, room for more stasis pods. As for the mysterious figures in those pods - they’re mannequins.
A couple of references to our season four finale and season five premiere, The Last Man and Search and Rescue, which I’m sure most of you picked up: Sheppard’s line “The last thing I need is three tons of rubble falling on my head again.” and Porter’s informing him that she disabled the security protocols thanks to the lesson McKay learned the last time he attempted to access Michael’s data.
EXT. FOREST - DAY: Sheppard, Teldy, and Vega make their way to the village.
The dialogue in this scene seemed to change with each subsequent draft. In the first, Vega’s complaint about not having the puddle jumper handy leads to a discussion of the midway station and the IOA’s reluctance to re-establish the gate bridge because of the events of Midway. Eagle-eyed (or eared) readers of this blog will recognize this dialogue as part of the deleted Sheppard-Caldwell conversation from Kindred I. It didn’t make the cut here either. Teldy’s character went from Major to Colonel and back to Major, and in one version in which she was a Colonel, she gave Sheppard a good-natured ribbing. Ultimately, however, it felt inappropriate and my writing partner, Paul, argued that making her of equal rank diminished Sheppard’s status on Atlantis. So, this scene was changed yet again but, for what it’s worth…
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