Before the showing, however, Eick noted that they were so nervous before showing the BSG pilot that they employed some, um, libations. A little more comfortable now, he invited Moore to join him in the new tradition of christening the maiden voyage of Caprica by enjoying libations right there on stage, pulling out a flask full of tequila. And invoke the gods or the fates they did, swigging away. And letting Seth Green do so, as well.
Let us dispense with the comments about red-headed stepchild Caprica first, as it was less the focus of the discussion–look for a report on Battlestar-related content in a separate post.
Speaking of red hair, Green asked Eric Stoltz if, as a redhead, he feels enormous pressure to change his hair color. While Stoltz did not really answer the question, he did note that Green is currently sporting a purple mohawk. Green claims this is just the latest in a long line of poorly considered hair decisions on his part.
If Caprica hits it big, Stoltz may need a little training on dealing with fandom, as he didn’t really seem to get into the swing of charmingly answering questions until the very end.
Paula Malcomson, on the other hand, was a hoot, spanking people both literally and figuratively. Possibly because Green at one point mistook her for someone on 24.
After 90 minutes of the pilot and an hour of questions that had nothing to do with the show she was on, poor Apanowicz had to escape to the restroom in the middle of the Q&A. Since no one was asking anything about Caprica, she could have gone for an In and Out burger while she was at it. When she was (finally) asked about landing the role, however, she noted that she’d had infected wisdom teeth incisions at the time and that they cast her from her audition tape–and how grateful she was they’d trusted her from only that.
When asked how she came to the pilot, Toreson talked about liking that Zoe was a strong, intelligent character, but then claimed that it was exciting to get this opportunity because there are so few roles for young female actors out there. It is possible the audience snickered at this claim. Perhaps she meant there are few roles for young female actors in which they play computer geniuses who become alleged terrorists over monotheism? Because she might be right about that.
In response to the same question, Morales talked about how he was sure he wouldn’t get the role because he saw someone who looked more like Edward James Olmos than he does auditioning. Under pressure from Stoltz to reveal who that actor was (“Was it Danny Trejo? Was it Dabney Coleman?”), Morales went from refusing to answer to saying it was a successful actor to saying the actor’s first initial was A to saying it was A Martinez. Way to obfuscate there, buddy (thank goodness they went with Morales–especially since he has a killer Olmos impression).
Malcomson originally auditioned for private school headmistress (counselor?) Sister Clarice, the role that eventually went to Polly Walker.
Stoltz finally warmed up a bit during this question, teasing Morales and then telling his own tale of woe about filming in Provo, UT, (“Provo. Utah. It…was tough”) and getting and then ignoring the script, tossing it on his dresser. From which the maid stole it at the behest of a Battlestar fan. Which was when Stoltz realized he might have something big on his hands and he should maybe read the script. That he no longer had.
Morales also thought the current BSG still had Dirk Benedict and had been running for 30 years.
Given that Caprica opens 58 years before the robotcalypse that kicks off Battlestar Galactica, the actors “expect” to do 58 seasons.
Jane Espenson was willing to use the term ”soap opera” when referring to Caprica as more serialized than BSG.
The actors were all full of praise for director Jeffrey Reiner, who set up enough cameras that acting felt like theater and who was more than willing to tell them when they were crap.
Moore, Eick, and Espenson were insistent that they not focus much at all on telling Joseph Adama stories that allow BSG viewers to connect too many dots as to how little Willie grows up to be Admiral Adama.
Along the same lines, they are trying really hard to resist the temptation to make cute litte references to Grandpa Agathon or a line of musicians named Thrace or to one of young William Adama’s teachers being named Roslin. One of the things they feel they have to do is “destroy Battlestar Galactica“–changing the look, the dynamics of relationships, the way the story unfolds–and making too many connections back (forward?) to BSG, no matter how winking, would undermine that. No flashforwards, no overt references–Caprica is its own show.
They also know that means they’ll lose some fans in translation–but they think they’ll gain some, too.
Overall, they seemed excited and hopeful–a lot of the audience seemed to be, too. I’m off to see if Morales’ uttering his name summoned Dirk Benedict, and if he has anything discouraging to say about how Caprica won’t work because a teenage girl is meant to hand out babies instead of computer programs.
If you haven’t been lucky enough to hit the Paley Festival, I have to highly recommend it. Programmed by the wonderful Paley Center for the Media, a repository for television and radio both classic and contemporary, each spring the Paley Festival puts on panels with the creators of current shows and thematic sessions about the state of television. Recent awesomeness has included everything from almost the entire cast of Lost to a Buffy the Vampire Slayer reunion to an evening with prominent creators of drama that included everyone from Tom Fontana and Aaron Sorkin to JJ Abrams and Dick Wolf. This year’s offerings gave us panels on True Blood, Dr. Horrible’s Sing-Along Blog, It’s Always Sunny in Philadelphia, Desperate Housewives, and several others. It’s a two-week celebration of television, and if you believe in TV, you need to go to the Paley.
Baconeers were able to hit a couple of the panels this year (many thanks to Friends o’ Bacon D and B for their hosting!), including Bryan Fuller presenting the last three episodes of Pushing Daisies that ABC has yet to broadcast. The episodes will allegedly be shown on May 30th, so we don’t want to spoil too much, but there were some pie-level-of-deliciousness tidbits to share:
in addition to Bryan Fuller–who was adorable and charming and managed to pull off a light-colored suit with aplomb–Chi McBride, Ellen Greene, Barry Sonnenfeld, and several of the writers and crew members attended. When McBride came into the auditorium, he seemed surprised at the size and the enthusiasm of the crowd.
Composer Jim Dooley provided a jazz ensemble that entertained the crowd before the episodes were shown (and they were good!).
Fuller, McBride, and Greene addressed the crowd before showing the episodes. McBride noted that pitchforks and torches to be used in threatening ABC would be handed out at the door, but then amended that statement to plastic forks and glowsticks.
Fuller noted that this was his 10th Paley Festival (with his first–and perhaps several others–being as a spectator/fan). There must have been a Buffy panel that first year, as he said most fervently, “God bless Joss Whedon.” We’d have to agree.
When trying to mention people who couldn’t make it, Sonnenfeld remembered Lee Pace and Anna Friel. Greene reminded him of Kristin Chenoweth, to which Sonnenfeld replied, “or, as I always say, ‘Kristin, show us more cleavage.’”
Greene became quite emotional, thanking the crowd for trying to save the show. Also, she is smoking hot with red hair.
They threw a bunch of t-shirts to the crowd–I am utterly gutted that I didn’t get a “Jews for Cheeses” shirt–and handed out raffle tickets for props, including the bell from “Robbing Hood”, some of Chuck’s Honey for the Homeless, a bee key from “Bzzzzzzzz!”, signed CDs of the soundtrack, Olive’s arm sling (“it touched her boob!”), some champagne and newspapers from the final episode, the MOTHER license plate from “The Norwegians”, and a Pie Hole menu. They were just a really, really generous crew, both literally giving things out and with their gratitude.
As to the episodes themselves:
The first concentrates on a piece of Olive’s history. Let’s just say she gets why Ned creates constructed families.
As such, Olive gets to imagine a little more of what might happen if she got her wish and Ned wanted her.
the Darling Mermaid Darlings’ detective entourage has a bright orange and lime green color scheme, and it is so wrong it’s right. And the Burburry mermaid tail garment bags make a reappearance.
There is closure. It’s about 90 seconds long and will leave you longing for more–because it’s beautiful–but it’s there. The episode initially cut to black on a cliffhanger–a doozy of a cliffhanger, actually–but Fuller and Co. rallied to give us an ending, a real one. Perhaps it’s unsurprising, given how visual this show was, but the visual return to previous cases/episodes was what really got to me. Fuller described a fairly desperate attempt to provide that closure and how people from every corner of the production sacrificed to provide it. Effects houses providing $90,000 visual effects shots for $8,000? I don’t care how short the closure it or how much more you wish you knew–these people gave us a gift.
And speaking of endings: I haven’t scoured every corner of the internet–I try to avoid most spoilers to begin with–but even I have tripped over alleged spoilers that have created massive consternation in the fanbase. And…they’re wrong. They’re just not true. Might Fuller go to those places in the comic books he’s hoping to do? Maybe. But the stuff I’ve seen screaming over? Just not true. Gift.
The Paley Center for Media (formerly The Museum of Television & Radio) has announced that Freaks and Geeks writer/producer Judd Apatow, along with two of the new season hits, Gossip Girl and Pushing Daisies, will be among the honorees at the upcoming William S. Paley Television Festival. The festival, which will take place March 14 to 27, 2008, features a series of panels during which the audience has the opportunity to interact with the creative team behind some of the best shows on television.
Additional details and the complete schedule for PaleyFest08 will be announced on Monday, Feb. 4, 2008. Tickets will go on sale to Paley Center Members on Thursday, Feb. 7, 2008. Tickets will be available to the general public beginning the following Sunday, Feb. 10, 2008.