Battlestar Galactica

Episode 5

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Episode 8

Episode 9

Episode 10

Ron Moore's Commentary

They were directed by Wayne Rose. They were written by Bradley Thompson & David Weddle. They were executive produced by myself and David Eick. They were produced by Harvey Frand. They were also produced by Bradley Thompson & David Weddle. The post production work was produced by Paul Leonard.

The actors were Michael Hogan (Saul Tigh), Aaron Douglas (Chief Tyrol), Nikki Clyne (Cally), Matthew Bennett (Doral), Christian Tessier (Duck), Dominic Zamprogna (Jammer), Emily Holmes (Nora), Alisen Down (Barolay), and Carmen Moore (Sister Tivenan).

The director of photography was John Drake. They were edited by Michael O'Halloran, Tim Kinzy, Ian Kezbaum, and Harry Jierjian. The music is by Bear McCreary. The visual effects were supervised by Gary Hutzel. The unit production manager was Boris Ivanov. The first assistant directors were Shirley-Anne Parsons and Alexia Droz. The second assistant director was Mindy Heslin.

The costumes on the set were supervised by Keith Parent. The make-up artist was Ankara Eden. The second assitant make-up person was Liz Raman Nair. The first assistant hair stylist was Jamie McKay. The assistants in charge of props were Glenn Hilworth, Gerry Thompson, and Robert Stecky. The sound mixer was Mark Noda. The boom operators were Keith Henderson and Tony Wyman. The first assistant camera person was Shannon Abbott. The digital imaging technician was Tracy Sim. The gaffer was Guy Patterson. The best boy electic was Paul Bougie. The genny operator was Murray Chysyk. The lamp op was Blair McDonald. The key grip was Mark Leiterman. The best boy grips were Dave McKinlay and Ron Baran. The script supervisor was Carol Green-Lundy. Our medic and craft services person was Tim Gunderson.

The Galactica Main Title Theme was composed by Richard Gibbs. Scoring and orchestral engineering were done by Steve Kaplan. The music editor was Michael Baber. The special effects coordinators were Al Collis and Kevin Andruschak. The studio executive was Richard Rothstein. The studio executive in charge of production was Todd Sharp. The network executives were Mark Stern and Erik Storey.

All of the above people worked above and beyond the call of duty to deliver these Webisodes to you and they did it while also working to deliver the regular episodes of the third season. They did it without any template of how these things were to be done and they did it in defiance of a limited budget and a extraordinarily truncated shooting schedule. I'm proud of them and proud of their work. I hope you'll agree.

3/26/2006 -- I thought we did a good job with them. It was a big learning curve. We had to piggyback on the existing production. There was no money to build a new set or even go to a different set -- we had to shoot it right on the same sets we were using that same day. That said, the story we came up with ... it was an interesting story... [The work stoppage] got caught up in a guild issue. It became apparent the WGA and NBC Universal were not seeing eye-to-eye on webisodes. When it became clear the writers weren't going to get credit, I said I didn't want to do this anymore. Then the guilds said we weren't allowed to do them anymore anyway, and I'm a WGA member. At that point it became way above my pay grade, as they say. The two-minute webisode is a very strange beast. Two minutes to a cliffhanger. I don't know if webisodes are going to be a long-term [product]. (source: TelevisionWeek)

David Eick's Commentary

Commentary by David Weddle and Bradley Thompson

10/2/2006 -- DW: When they initially came to us we could have done just vignettes, and in fact the the staff thought of that approach to the webisodes. But when Brad and I got the assignment we thought, "Let's just tell one story." Network wanted it to play into the third season, so that gave us the inspiration to chronicle events that would pay off in the third season... [I remember Ron Moore saying] "SciFi's ready to do it; they're ready to pay for them. You guys are doing it. Unless you don't want to. Have a story the day after tomorrow." In a day or two Brad and I came up with the concept and a day after that we pitched them to SciFi. We wrote them in four days or something like that, and shot them the next week. (source: CHUD)

10/2/2006 -- DW: The making of these and the fact that [the WGA] wouldn't put any credits on them and compensation issues came to a head and as of right now we're not allowed, by the Guild, to work on any more of them. So until that's resolved one way or another -- we'll go back to non-Guild people working on these things or the big media companies will have to come to some kind of arrangement with the Guild so that we can do more. I think the great thing about having done them is that we can show what happens when you hire real writers to do them... The massacre in the temple has temp tracks we were going to loop and fix and make a lot better, but because we were forbidden to work on them anymore they went out as is. Of course people complained when they watched them and it just made us cringe because we very much wanted to correct that. (source: CHUD)

10/5/2006 -- DW: We came up with the idea of telling one story over the couse of ten webisodes that will fill in the motivations of some peripheral characters who nevertheless play pivotal roles in the opening episodes of Season 3. We wanted to tell the story of Duck and Jammer, who had become close friends while on New Caprica, and show how a single tragic event -- the temple massacre -- propels them on divergent paths toward actions that will affect the outcome of the battle to liberate the human race. (source: SyFy Portal)

Commentary