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Episode 2.16: The Locket BB: [using old man voice] Hi. This here is The Locket. CB: [groans] Oh, God! BB: [old man voice] The Locket is, um, episode fourteen of season two. CB: And this here is a dirty old man in the form of Ben Browder. BB: [old man voice] And I'm sittin' here with the beautiful Claudia Black -- hasn't aged a year since I seen here. CB: [chuckles] A lot of plastic surgery on my last trip to Hollywood. BB: [laughs] Um. The Locket is written by Justin Monjo, one of the true greats of Farscape history. Justin is a tremendous writer and probably the most in-demand film writer in Australia at the moment. CB: And uh... BB: The boy is quality. CB: ...came from acting, so he has an excellent understanding of dialogue. Always loved doing Justin's episodes. And he was very, very responsive to our input as well. BB: [snorts] CB: Just wanted to make it work. BB: Yeah, he'd say, "No!" CB: [chuckles] BB: "No! You can't do that. No!" CB: Quite the opposite. Different outfit for Zhaan. BB: Oh, yeah, and Stark just immediately shows. Stark shows up. Stark. We haven't seen him for how long? Years. We haven't seen Stark since the end of season... one. And here in the middle of season two he suddenly appears in the scene. There originally was some sort of scene explaining how he came aboard, but Farscape being Farscape, we ended up with time constraints, and... CB: She's got... She's got a new... BB: ...that, that scene is sitting on a dusty shelf somewhere. CB: Indicated by the fact that... Zhaan's has a new sexy outfit 'cause she now has a boyfriend who's just appeared. Stark was pretty much brought on to, to... BB: [chuckles] CB: ...develop a relationship with Zhaan. BB: Give her an excuse for more outfits. CB: Yeah. BB: Terry Ryan loved designing outfits for, for Virginia. CB: Yeah, well you'll see in interviews with Terry Ryan that, you know, that the process of coming up with a, a design for her costume because she was a plant, and he wanted it to be flowing and blue was a, was a good color for her to have on-screen against the ship that was, you know, the show is lit dark and there's a lot of gold and, and uh, and silver colors coming through. And D'Argo and, and Zhaan were specifically designed as bold reds and blues to bring a, a good alien bright feel to the show. BB: All right, so we're in a big CG fest here of mist and waiting for Aeryn to return to explain what the hell's going on. Did you notice the little wobble on the transport pod when it comes in? CB: [chuckle] BB: I think th... it's going to be explained shortly. Um, but the transport pod didn't come in smooth like it normally would, it kinda wobbled. CB: There ya go. Big CGI of the, this, the incredibly steep stairs that come down from the transport pod, and we have, the one part of the set of the transport pod with those stairs that is actually practical... BB: [laughs] CB: ...is just sort of one, two, three, four, five, six... Six actual steps? BB: Actually, there, there is a practical bit, which goes a lot higher up. Goes about fifteen to twenty feet up. CB: Oh, really? BB: Yeah, yeah, yeah. CB: Oh, it was so steep. BB: Oh, the... it's like a ladder. CB: I remember the whole cast had to walk down it at one stage. BB: Yeah, and it's perilous. CB: Yeah. BB: You're thinkin', "Please, whoever's up top, don't fall." CB: There ya go, spooky plants. Anything in space in the Farscape world, that's, you know, that's a plant is either purple or blue. That's how you know you're on a sci-fi show. BB: [laughs] Or an off-red magenta or something. CB: Yeah, whereas in previous episodes, they've done it in the grade and the plants have been made to look blue. BB: That's probably a real plant of some sort though. CB: No, that was plastic. BB: Are you sure? CB: Uh-huh. Well, we shot this over several days, you can't have real plant in there. They'd have to redress every twenty minutes. We didn't have air conditioning properly in those... BB: In those days. CB: ...in those sheds, so... BB: [chuckles] CB: ...that was all plastic. And here we go, who's this person in the transport pod. It's an old woman. Oh, my gosh, that's a face for radio. BB: [old man voice] Boy, that's a damned sexy woman. Mm. I like her. She's got somethin' goin' on. CB: That's Aeryn. What on Earth has happened to her? BB: Now we know what it's aback, about. It's the obligatory sci-fi-your-main-characters-get-old episode. CB: Oh, that old chestnut. BB: [laughs] I saw one on, Star Trek one the other day, and, you know, I felt really good about my prosthetic after I saw it. CB: [loud laugh] BB: I don't wanna bag on Star Trek, but it was one of the early Star Trek Next Generations, and... CB: [unintelligible] for ya. BB: ...I felt sorry for that actor. Of course the minute I saw him, I said, "He's gonna get younger." CB: Yeah, well one of the great things about Farscape is that we get so much for free. The Creature Shop creates these extraordinary make-ups which articulate on the face so well, you don't have to sort of do, you know, cartwheels to, to light them, you know, around the make-ups, and, and we had wigs made. We had a good budget, so we had [unintelligible as Ben spoke over her] made for us. BB: [chuckle] We get it for free. We get it for free; Brian paid for it. [they both laugh] BB: [old man voice] I got to be an old man for free. CB: Well, it's a good old theory of K.I.S.S. Keep It Simple, Stupid. BB: Now... How long was your makeup? CB: Couple of hours, I think. How long was yours? BB: Four and a half. CB: Was it really? BB: Mine... Apparently, Dave Elsey says it was the longest makeup in the history of Farscape. CB: Oo... BB: Four and a half hours I was in the chair. CB: I like this scene. BB: But yours is... You look GOOD. It is completely convincing. CB: Oh, boy. Jeez, I hope I don't look that convincing when I'm old. I love this scene, though... BB: Oh, come on. You're still sexy. CB: Ian, Ian Watson wasn't sure how to, to shoot this scene. I'm, I think we were concerned about Aeryn's emotional state and how to sell it. And once I worked out in the rehearsal what I... I went up to him, actually, before the rehearsal and I said, "I think I know how I want to do this, and I think it will work." And, um, he'd already had come up with a shot list before we rehearsed it, so... coming to terms with how, how to reconcile my, my ideas about performance and how, how we were gonna cover that when it was already established was... interesting. BB: Well, we had a discussion about how to shoot this, but you know what, it... it's actually... there was a scene that Ian shot in the quarters which was shot in a similar fashion... CB: Um-huh. BB: ...with the camera continually rotating around the characters. That was done, and I ain't gonna guess which scene it was, but it was a scene with Zhaan and Aeryn and Crichton and corps. [Old Aeryn tells Crichton that she's forgotten how beautiful he was.] CB: I love this line. BB: It's so beautifully delivered. [Old Aeryn tells Crichton, "You're so young."] CB: Mm. BB: [snorts] Feel that way looking at it now. [They pause for a few moments to hear the scene play out a bit more.] CB: It's a very romantic moment for me, as Aeryn as we remember is no longer here. She's an old woman, and she's looking at Crichton, probably the, the love of her life, and not only can she remember how, you know, what his, his personality is like, when she says I've also remembered how, how wrong you can be. This poor woman, she's lost everything, basically, and this, things that've happened to her that they have no idea. [pause] Stark's ability to calm people down, which later becomes his ability to cross people over to the other side when they're dying. BB: No. That, that was established in, early on. CB: Yeah. BB: His ability to cross people over. He did that with Gilina. That was, that was, that was early canon. The writers actually stuck to that one. [they both chuckle] They st... No, they stuck to everything. The writing staff was perfect, all the way through. [laughs] 'Cause I never made a mistake. CB: Well, no, no... BB: I never forgot anything. CB: No, no, no. I'm not... What I'm saying is it's interesting when you, when you endow all these characters with super human qualities, I mean we would end up in these scenes where we were blocking them and everyone would say, "Well, I... I wouldn't do that as it's scripted..." BB: [laughs] CB: "...'cause last episode, I was climbing walls to get out of someone's way." And then someone else would say, "Well, I wouldn't do that either, because I can disappear." BB: We were having... We were having those discussions in the mini-series. CB: [groans] BB: We had people do... you know, it, I mean it's interesting, you give someone a super-human power who... [repeats, enunciating more clearly] Super-human power... When you give them that power, they then remember the next episode and go, "Well, I can, I can, I can go fast..." CB: And the super-human power... BB: "...sp... Speed Blur Vision." CB: ...was introduced within the context of the story to get them out of a, you know, a, a plot difficulty or whatever. BB: Yeah. CB: And then it carries through. If it's established, then it has to be... BB: It's scary. The one they gave the most powers to, though, was Zhaan. CB: Yeah. Yeah, she had a lot of [unintelligible as Ben speaks over her]. BB: That chick. Every fird... [funny voice] Every fird efifode she was gettin' 'nother one. CB: [chuckles] [with funny voice] Every fird episode? BB: [funny voice, becoming southern accent] Every third episode, Zhaan was gettin' another power! CB: Oh, getting Rygel into... Moving Rygel in and out of rooms was incredibly difficult... BB: [chuckles] CB: ...and the, the guys in the Puppeteer Department came up with the, a sl... you know a sled boom. Used a form of it in the first season and then they sort of adapted it so that they could move him in on a little... little sort of... tray with wheels. BB: Part of the continuing theme which occurs in almost every season is that they pair characters up. CB: Mm. BB: Uh, and this was the season of Rygel and Chiana being paired up. CB: They had their Titanic moment [unintelligible due to Ben]. BB: Yeah, they'd go in and they'd have, they would have their moments together. Big play scenes. "Well, we'll play another Rygel and Chiana scene." But you'll, you notice that through the course of season two that... Ryg and Chi are together a lot as the two amoral members of the crew. [Scene where Chiana delivers a line to D'Argo.] BB: [snorts] Good, good delivery there. "Well, you know Aeryn..." CB: Yeah. [chuckles] [pause] We went through an interesting process, obviously on another episode, where we had to sort of body swap and getting inside Chiana... I mean, it almost killed Anthony. I think on one day he fainted and went to hospital. [short laugh] And on another day... I mean, I, just the physicality of her sitting in the makeup at the beginning of the day, putting on the wig and the outfit... physicality of her... the wh... breathing patterns... I don't know how Gigi did it. BB: I think there's a lot of people out there right now going, "Getting inside Chiana would kill me too." CB: [laughs] BB: You know, I'm just thinking... CB: Well, I don't have a dirty mind, but ever since you played this old man, you've had nothing on your brain but that. BB: No, I'm talking about as an acting exercise. What are you talkin' about? All right. CB: This is very sweet here actually. BB: Oh, it's gorgeous. CB: For the first time you see Chiana being... Oh, God, look at that. BB: You're gorgeous! What are you talking about?! You are a gorgeous old lady, and very fit. CB: And nasty too. Look. [scene where old Aeryn drugs Chiana] BB: Well, you're not nasty. You had to... You, you have to go back. You You got a family you're going back to. CB: That's true. BB: Now, these kinds of time travel eps are really problematic. CB: Yes. BB: The writers actually, um... are fearful when approaching one of these. Because [chuckles] you end up... [fake nerdy voice] "You end up with a relevant conundrum. In episode fifty two, when you went back in time..." CB: Mm. BB: [continues nerdy voice] "...and Aeryn did this, didn't that change what would happen? And didn't Crais..." CB: [fake nerdy voice] "The space time continuum?" BB: Yeah. It, it, it's a... CB: No, the writers have a great time writing them, and then when we go to the conventions, we're stuck with all the questions. BB: No, no, no, Justin actually... Justin, to Justin's credit, Justin writes this really great character stuff. But then when it comes to the actual, the actual... CB: Science? [chuckles] BB: ...mechanics of time travel, or getting old and th... He just kinda, you know, glosses over it. CB: [laughs] BB: "Well, the room's gonna spin, and, uh, that'll be taken care of." CB: Whereas David Kemper just fills it with a whole lot of words... BB: [laughs] CB: ...and sci fi babble that's so confusing that everyone goes, "You know what? I'm not even gonna go there to try and understand it. I just take..." BB: It sounded smart. CB: That's right. BB: I'm tellin' ya, it sounded smart. CB: It sounded very smart. BB: And David will tell you, "No, no, no, I read an article in Discover Magazine. This is how it works." He explained to me once how I survived in space for a minute and a half. CB: [giggles] BB: [laughs] CB: It's okay, David. It's TV. I'll use my imagination. [Ben continues to laugh] But it's good. I mean, I've always... BB: No, no... CB: ...said that this show's more fiction than science. BB: ...they guaranteed me I'd only be in space for fifteen minutes. It wa, uh, it was a guarantee. I said look, I... I mean fifteen seconds. They said, "You're only going to be in space for fifteen seconds." "Fifteen seconds? Okay." And I did some research that said, okay fifteen seconds? I think he can survive. I've done the reading, I've read the pertinent literature. I wanna feel good about this. A minute and a half later... CB: Nice. BB: Down to the planet. CB: This is a moon. BB: Okay, so... CB: Wait, that's a practical set. BB: ...here we are in the same place they show, they shot, uh, was it Red Planet or Mars? CB: Same diff. BB: Same. Yeah, it was one of those Mars movies that came out... CB: Ugh... BB: ...with, uh, Val Kilmer. CB: ...dusty as hell. We kept getting sand in our eyes and our mouths all day. BB: It, you know it doesn't look nearly as bad as it was with, like, those, those big plane props blowing that stuff at us. CB: Yeah. They were big. BB: It was stinging! CB: They were airline jets. They were the jets... BB: Did they use the airline jets for that? CB: ... from planes. I think so. BB: It may have been when they finally used 'em. It came in one day. CB: Yeah. BB: I came into work one day, and the, uh, special effects team had an airline jet on the back of a pickup truck. Known as a "yute" in Australia. And they had fired up an airline jet. They'd strapped the truck down, and this airline jet [makes sound of jet engine]... CB: [chuckles] BB: ...blowing passed the sound stage. I thought, "What the hell are they gonna use that for?" It doesn't look like it there, but it stung. CB: Now this is where Aeryn, Aeryn in this scene talks about... Oh, God, look at you hitting an old lady. BB: [chuckles] It looks that way, doesn't it? CB: You can see my kneepads there. Oh my God! You can see my kneepads! BB: [laughs] CB: Old ladies need knee pads. Especially when they know it... they're gonna fall over, 'cause it's in the script. [We see a close-up of Alyson Standen who plays Ennixx, Aeryn's granddaughter.] BB: She's good! CB: She's terrific. BB: She's terrific, this girl. CB: Really lovely. Glad that I had such attractive looking grandchildren, 'cause God knows... [takes a deep breath] who their father... who their... BB: Very attractive. And you keep seeing her in this... What is it a bank ad in Australia I keep seeing her in? CB: I dunno, but she was so lovely to work with. BB: And really good too, although I think she was a bit freaked out by Old Man Crichton. CB: [chuckles] Yeah, well you were such a perv. So pervy! BB: [laughs] It was a choice. CB: It was, it was an interesting experience, 'cause people kept offering to help me get, offering me a hand... BB: Yes! CB: ...coming down out of the trailer. BB: Yes, people tha... CB: Offering me a hand up at lunch when I got out of the seat, because they were so convinced by the makeups they just, their minds played a trick on them, and they didn't think we were Ben and Claudia. They just thought we were two old... farts that were hanging around the set for free food. BB: People kept asking me if I knew where I was going. CB: Oh, boy. BB: They, they'd go, "Uh, excuse me, sir, uh... Do you know where you're going?" [chuckles] CB: It's like the exercise in college... BB: [old man voice] "Yeah, I'm just, I'm just goin' over here to stage, to stage fourteen." CB: It's like that experiment where they make... BB: "Yeah, okay." CB: ...kids in college carry around a fake baby so that they understand the, the concept of responsibility. This was like an exercise in understanding what it's like to be old. BB: Yeah. [pause] This was... Now this was also one of those days where I had to go in and out of the makeup. And... CB: Oh. BB: ...we had Bubba, the first A.D., you know, yelling at him, going, "Bubba, you can't make me do this three times!" So I'd go into the makeup, four and a half hours to get the makeup on -- the old man Crichton makeup -- and out of the makeup, and then maybe into a different makeup. It was, um, and then get sandblasted by... CB: That's... BB: ...a jet engine. CB: ...brutal. Because, I mean, to turn a woman's face around when they, if they took the prosthetic off, I'd look like a raspberry for a couple of hours. If you got sensitive skin, the, the chemicals they have to use to take it off... BB: [chuckles] I have very sensitive skin. CB: Yeah, I know it. BB: [fake effeminate voice] Very, very sensitive. CB: [similar effeminate voice] You're a very sensitive person. CB: Look, that's pretty much... BB: I am a sensitive person. CB: ...where the set finishes. Officially... BB: [chuckles] Yeah, it does. CB: ...at the transport pod stairs. Don't look higher. BB: Don't pan... CB: Yeah. BB: Don't pan up. [Pause as we switch to scene on Moya with Chiana and D'Argo.] BB: It's very quiet on the set, isn't it, there. [laughs] Wonder if we were yelling and screaming to these guys. CB: It's nice. I like the quite Moya moment. [pause as they watch the scene] CB: Oh, D'Argo likes Chiana. BB: Oh, yeah, well... CB: [makes schoolgirl-like teasing sound] BB: ...he's already... he's already been shaggin' her. CB: Yeah, but... BB: Kids, that's was a... You can bleep that out. CB: [chuckles] BB: He's been SHAGGING her... CB: [more chuckles] BB: ...from the Princess ep. So they're, they're, they're a couple already. They're an item. CB: I know it, but he's... BB: She just doesn't know it yet. CB: He just wants her to feel that she's part of a group, and I think her battle is that she's, she just wants to, to do her own thing. BB: You know, I'm gonna go on-line and read some fan fiction and see what really happens here. CB: [giggles] BB: You know it is amazing, actually, the on-line community. The way that... Anything that I could say about the show, they've already analyzed. CB: [chuckles] BB: So if you really... CB: They come up with their own answers. BB: If you really want good commentary, just go on-line. CB: [chuckles] Yeah. BB: You know? I, there, there's nothing I can add to this story. I can tell you that, you know, "Okay, we're tiltin' the camera here, and I'm sitting here trying to remember my lines and there's probably, someone probably banging a hammer off-set." But that's not as... [chuckles] That's not as, that's not really as exciting as the, as the commentary which I've read about the show. CB: And it's interesting when you work on other space shows, if, it, depending on the size of their space ship, a lot of them don't rock the cameras at all to denote movement... BB: [snorts] CB: ...of the vessel BB: The set. [mocking Claudia] Depending on the size of their spaceship? CB: Yeah. BB: I never knew it was related to size. CB: Well, that's what... That's what I was told. Size apparently matters. BB: That's what they told you up there in Canada, did they? CB: [chuckles] BB: [laughs] CB: [quietly] I've worked on other space shows. BB: Yes, you have. Several. I haven't. This is the only space show I've ever been on. CB: You have to take my word for it then. But I miss it. BB: Did you? CB: I missed it when I was working on other shows, I missed the fact that the, you lose that opportunity to move the camera, and constantly have it moving. I mean, when, if you... BB: Oh, we're moving the camera all the time here. Now we should say... Should we say something about Ian Watson, the director of this piece? CB: Very actor-oriented director. BB: Yep. CB: Very organized with his shots, which was excellent 'cause it's a grueling schedule. And, um, really loved the battle. He loved the conversations where we would knock things out. He always wanted to make them work and always wanted to, to, to find the best solutions. But he did it with a lot of heart. He wanted it to make sense, and he wanted it to... you know, to ha, to, to always have a lot of emotion. Oh, naked Zhaan. This was HOURS and hours of makeup. This was another girl. BB: That's a re-use. That's a re-use of a shot... CB: ...from... BB: ...from... BB/CB: [together] ...season one... CB: ...episode one? BB: They only once ever painted up a naked Zhaan. CB: Yeah. BB: Because it was literally ten hours... CB: Oh... BB: ...of painting. CB: ...and they had to use, do someone else. They wouldn't have had time to, to do Virginia and then actually shoot with som, shoot with her, so they painted someone else up, shot it from behind, and cut into this mid. BB: Yeah. And then there would either... They would flip the shot and pan right and then you'd, we'd pretend like, "Uh, this is not the same shot we used in season one." CB: [chuckles] BB: See, that's where we saved the money. We didn't save, that was it... The whole, the whole budget saving process was done in reusing one shot. But it took forever. CB: It did. Considering everything that we put Stark through in the mini-series, it's very funny to see him dealing with Zhaan's nudity so perfectly here. [they both chuckle] It's like, you know, doesn't even blink. BB: I don't think he cared. CB: No. BB: She is his matronate, matronator. CB: [mocking] Majorator. BB: [laughs] CB: Originally... See these lights in the background, in between the two of them there. Originally when, um, Ricky Eyres designed it, he and Julian Parry talked about every part of the ship being living, and their original concept was that they would be like beetles, they were living things... BB: I know, can you imagine actually... CB: ...that would move up and down the walls. BB: Can you imagine the continuity issues? CB: I know. BB: Can you imagine the guys pulling the strings that made... CB: I know, I mean, I know... BB: ...the lights move? CB: And they said if we ever do Farscape: The Movie, we'd love to go back to that concept and, and they, you... BB: And then somewhere, somebody'd be going, [whiny geek voice] "I'm sorry, in episode twenty one of season two, the, the light in bulkhead outside of the maintenance bay crawled away..." CB: [laughs] BB: "...and left and was left on the planet. And now, in episode fifteen of season four, it's back again. Can you explain that to me?" [laughs] CB: Okay, so... BB: This is the kinda of thing we end up doin' in the writer's room. In the writing room, we're, we're, we're in there goin', "Uh, didn't we do this and that and this? And how we gonna reconcile that with what we've already done?" CB: Anything else you wanna say about Ian? Oh, look, the Earth's moving. BB: Naw, it's just... CB: Is it moving for you? BB: ...that Guaddo [guess based on the sound of what appears to be a nickname for Ian Watson] is a really, um, encouraging director. He, he makes actors feel safe to do almost anything. It's an unusual quality. CB: Yeah. BB: Actors love him. CB: Theater background. BB: Yep. CB: Makes a big difference. Ian, Ian loved coming... I mean this show was an extraordinary thing to work on in Australia. We had the biggest budget. It was the largest show of its kind that had ever been filmed in our country. And, and, you know, it's Orson Welles who talks about the train set. This certainly was one. It was a, um... Was it Welles? BB: I don't know. [watching scene] What happened there?! CB: I don't know. BB: I, the, this is... What happened? I mean... CB: It's Zhaan... BB: ...time stopped. CB: ...mysticism. It's Zhaan... BB: I know, it's... CB: ...mysticism. BB: That was actually one of the great vacant holes when Virginia left the show, was that we didn't have, we didn't have the Zhaan, the Zhaan Card to play. CB: That's a GREAT CGI shot. Daylight. CGI in daylight... really hard to do. BB: Yeah, true. CB: Oh, look, it's purple plants. We must be in space. BB: It, it looks like... I wish they didn't use that shot. It looks like I was taking a piss. CB: [chuckles] This is shot in Centennial Park in the middle of the Eastern suburbs of Sydney, and it was my favorite park. It's just around the corner from Fox Studios, and I would, uh... They had this sort of... lots of different types of traffic. Cars, cyclists, special tracks for cyclists... BB: So we'd have guys with guns keeping the bicyclists back. CB: And horses. Um... BB: I keep... Do you, do you look for someone like a bicyclist in the background? There's a car! Woo! CB: [chuckles] BB: Over right here in the corner, I just saw a car. CB: Yeah. BB: Kids, roll that back and you'll see a car pass by. CB: Uh. BB: Hang on. Just look at, uh, all right, a person passes but in that lower right hand corner may catch a sight of another one. CB: It was a very hard location to lock down. BB: [unintelligible] CB: I know when they were shooting 28 Days Later, they got cute girls in tight T-shirts to talk to people in cars to kindly wait a few minutes while, while a take was done. BB: Yeah. CB: But we didn't have that. BB: [sees himself in old man prosthetic for the first time] Oh, oh, oh, Lord. CB: Oh, hello! BB: Oh, Lord. Now... CB: Oh! And Scorpius. BB: [chuckles] CB: That, that's something you don't see in normal television. BB: This is just... This is just bizarre. CB: What is going on? BB: You know, suddenly you see him, and he's there talkin' with Scorpius. You, you might not get this... CB: He's old and he still... BB: ...if you didn't watch the show. CB: ...got a clone. BB: Yeah. But the clone hasn't aged. [pause] CB: Abe, you've got a droopy eye there. BB: [chuckles] Yeah. CB: [chuckles] I'm sorry about that. BB: Yeah, no. It, it, you know what? He's an attractive man. CB: This looks... BB: He's a stout man. CB: ...really good in post. I think I only saw the lock off of this, and I, it's really lovely to see all the other elements put in... in post. BB: She's cute. CB: She's lovely. BB: And Old Man Crichton's gettin'... had a bit where he perved on her, but they cut that bit. CB: I don't remember seeing... BB: Every woman that crossed Old Man Crichton's face he, he perved on her. CB: Oh. BB: And there was that scene where he's like [old man voice], "Yeah, you're lookin' good today. Mm." CB: Mm. BB: "Yeah, why don't you come on over here and let me... Sit on..." CB: [mocking old voice] "Sit, sit, sit..." BB: "...my lap." CB: "...on my lap." I remember that. BB: "Come here and sit on my lap." Uh, that actually developed while I was in the makeup chair. I, I was watching this guy, and he evolved. As the makeup went on, he evolved from a, an inmate in prison to [chuckles] to a gang member to, and finally, he just went through these gyrations and then some of the Creature Shop girls came in and, um, they just sort of toss... I realized I could get away with anything as an old guy that I couldn't get away with as myself. So I could say the most outrageous things as an old person... CB: Yeah, that's 'cause they kept the sexual harassment report from you. They thought... BB: [laughs] CB: ...it would distract you from workin' further episodes. BB: Oh, is that what that was? No, but you can, it's just one of these things that as an older guy they, they suddenly think it's cute. CB: Mm. BB: He, they say... CB: Well, you're not a threat, because... BB: "Oh, you're non-threatening." CB: Yeah. BB: And you, you get away with that stuff so you can go [old man voice], "Well you, mm, you're lookin' good today. My goodness, you look fine!" And instead of looking at you like you're the letch that you are, they go, "[laugh] You're so cute!" Scary, that. CB: Yeah, uh... BB: But I have that to look forward to now. CB: And I noticed that you were, you were going after the younger girls when I was in my makeup, you weren't, you weren't chasing me so much around that park. BB: [chuckles] CB: Interesting. BB: It's 'cause you didn't... you didn't find me attractive, and you let me know you didn't find me attractive as an old man. CB: [laughs] BB: You're shallow! Me? I think you're gorgeous. CB: I didn't say you were unattractive. BB: You did. You said, "It's very unattractive, you as an old man." CB: [indignant laughter] BB: You told me that. CB: I'm not sure that's verbatim. BB: So, the purple plants... We had a grip paint every leaf... CB: Mm. BB: ...on those, uh, those trees. And he was there for, what, like a month? CB: You, Yeah. You know how in Lord of the Rings they planted the... you know the gardens of the, of... What's the... Middle Earth? BB: [chuckle] The gardens of Middle Earth? CB: [chuckles] You know where, where does... BB: New Zealand. CB: ...Frodo live? No, their village. Their town. BB: Yeah, he lives in The Shire. CB: In The Shire. There ya go. BB: Yeah. CB: They, they planted all the plants. And so they did the same. Those trees which are a hundred years... BB: [chuckle] Yeah, right. CB: ...old. BB: No, the, the, the, uh, the purple in the plants is achieved by a grading of the film. CB: [softly] I'm impressed. BB: Which is something, some mysterious thing the DoPs do in post. [pause as they watch scene for a moment] BB: I LOVE this scene. CB: I was thinking about my Great Aunt. My fabulous... You know, there's an expression in Australia, "Bob's your uncle and Franny's your aunt?" Well, Franny's my Great Aunt, and she's, um... A lot of her, I, I put into, you know, as much as I can. BB: This is a beautifully written scene. I'm sorry, I gotta, gotta talk about this scene. This scene is beautifully written. I love the way it's shot. And, I just... I, I wanna cut it into my show reel. I want this scene to be my show reel. CB: Let's watch it for a bit. [Long pause as they watch the scene with the old couple talking in the trees.] CB: [following Ben's long line about being a pilot] Mm. [They continue to watch it.] BB: I think they're a really cute couple. CB: [glowing] Yeah. BB: I think it's one of the most romantic scenes that we ever did. CB: [still glowing] Yeah. And the episode, and you played this so beautifully. BB: [snorts] I was just playin' off you, baby! CB: Oh, no. BB: It's really, it's, you know, a nice relationship between these two. It's still playful. It's still energetic. And yet... CB: And very tender at its heart. That's why a lot of people... BB: Yes. CB: ...think, regard this as their favorite episode. BB: You know, checkin', checkin' on it... You know, and you, you can... You know, if you have a problem with the, the science of time travel and all that, you know, it doesn't matter. CB: Mm. BB: It doesn't matter to me when I watch this episode. It doesn't matter. CB: It's just a sweet little story. BB: Because the story of, you know, it's worth it... CB: Wow. BB: ...to me for this scene. CB: Yeah. Here we go. [They pause to watch the scene where the old folks talk about what's in the locket.] BB: [old man voice, at the same moment it's said on-screen] "Your husband?" CB: [short, soft chuckle] BB: [old man voice] "Why would you have his picture in there?" CB: [short, soft chuckle, then after Aeryn says, "Just to drive you crazy," big laugh] I love that line. BB: [old man voice] "You know what I think? I don't think you got his picture in there." CB: [in character] "Why don't you look at it, you old..." BB: [old man voice] "I think you got my picture." CB: [unintelligible] BB: [old man voice] "Yeah! My picture. Surrounded by roses and hearts and yotz." CB: My god, you don't have a life, do you? BB: [laughs] CB: Do you just sit around all day just memorizing... BB: I have Farscape on a loop... CB: ...lines from episodes... BB: ...in my house. CB: ...you've already shot. BB: Uh, no, it's a bit spooky what pops out of my brain sometimes. CB: Good detail on the neck, by the way. They, extending the makeup all the way down. BB: Yeah, my, mine actually went down to my crotch. CB: [laughs, tries to contain it] BB: There was gonna be a scene where... CB: Is that why I wasn't attracted to you that week? BB: That was my, yeah, a lot of latex out. They were gonna have a scene with me running naked through the forest, uh, which I had requested, and... CB: [chuckles] BB: ...we just, we ran out of time to shoot it. CB: We were trying so hard... BB: It couldn't... CB: ...to keep crime down in the Eastern suburbs... BB: [laughs] CB: ...so they just said... BB: Oh, this little montage coming up. Do... Do you remember what we were talking about? [pause] There's a little montage right after this where they, you know... CB: Is this where I taught you the dirty song? Is this the episode where I... BB: I... CB: ...when we were shooting this one too? BB: ...the, well, what is it act... CB: [laughs loudly] I love this! It's so funny, it's like a, a commercial for... BB: [laughs] CB: ...incontinence. [they both laugh] BB: Oh, Lord! CB: Okay, now laugh. Ian always liked sentimental moments, so he was like... BB: No, we were... CB: "Okay, you two laugh and have a good a time..." Aren't we having a good old time? BB: We were actually laughing about something. Uh, we were, we, you know, he said, "We're not going to use the dialogue," so we were yackin' on about something. It was... it was something about the caterer, I don't know. CB: So glad it was in slow motion too. It just makes it last... BB: Oh, it's so sweet... CB: ...a lot longer. BB: ...but incontinence? Come on. CB: [chuckle] Oh, come on. [fake commercial voice over] "Do you have a problem... not making..." BB: Meanwhile, back on the ship... CB: [continues ad voice] "...it to the bathroom in time?" BB: So we don't care what happens back on the ship. Where are the old people? CB: [chuckle] BB: I... just, I like watching these... These, I like this guy! I'm sorry. I think this guy's a really interesting character, and, you know, to think that this is what Crichton would become after, after sixty years of bitterly stuck on a planet, you know, with, with you already an old woman... I think it's interesting! CB: Mm. [pause] BB: [old man voice] "Even though she was an old woman, I loved her." CB: And Crichton's constantly... BB: "And I loved her from the day..." CB: ...being faced with, you know, the, the dilemma. Does he go home to Earth, or... The more time he spends in space, the closer he gets to the people on board Moya, and when he gets his opportunities to go home, it's such a... you know, it's good drama. BB: [in old man voice] "It's a really sweet relationship, though, because when, when he went to that planet, she was already an old woman." CB: [chuckles] Before he went to the... BB: [old man voice] "She was an OLD woman." CB: ...planet, he had a mid-Atlantic accent, and when he gets down there..." BB: [old man] "Now, no, now here's the thing..." CB: ...he suddenly becomes a Southern old... BB: [old man] "I've noticed this in people..." CB: ...cranky dude. BB: [old man] "...as they get older, they, they migrate back to their..." CB: That's true. BB: [old man, fading to Ben's normal voice] "...native accent." CB: That's true, especially if they've got... BB: That was plotted and planned, I, you know I coulda... CB: I know. BB: ...just done an old this. CB: I know. BB: No, it's okay. You can bag on my acting and my, my preparation. CB: [sighs] BB: That's all right. You, I mean you thought I was ugly on the day anyway. CB: Oh, boy! BB: Ah, look, it, what a cute hug. CB: You'd think as the st, the real star of the show, he'd have enough confidence to just take it all and... BB: I think Rygel knows he's the star of the show. CB: Mm. BB: He's quite happy with his, his performance. CB: Creature Shop always talks... BB: [unintelligible] CB: ...about the hardest thing in aging makeup is the hands, so they just kind of, they'll do a bit of old age stipple, but they, they tend to just kind of leave it, because they know it's a, a losing battle. BB: Oh, they covered my hands with latex. CB: I know. They put, they... BB: They wrinkled me up. CB: They did, they [something]... BB: Which is a good thing, because I noticed it in the shot. CB: ...old age stipple, but it... BB: Yeah. CB: It's very hard to, with the lighting and everything, to... BB: Yeah. CB: ...really sell it. BB: [clears his throat] [pause] BB: Are there five people in that scene? CB: I know, they have... BB: Gigi disappeared, didn't she? CB: I know, she, she went off to lunch. You can see her walking up. [Scene switches to old Crichton calling up to Moya on the moon's surface.] BB: Man. We, we couldn't hear each other... CB: Yeah. BB: ...to save our lives. They had these fans... it doesn't look... it just doesn't look as tortured as it was... CB: You see how... BB: We were basically being, you know, sandblasted. CB: You see... BB: We were being cleaned off. CB: And how dark my face is. It's just we were getting... BB: Dirt. CB: ...absolutely plastered with red dirt. [short chuckle] Old man hopping. BB: Yeah, I am. [pause] CB: Ian always liked to, um... to... accentuate the, the value of... group moments, so he loved having group shots, and he loved shooting the scenes where we were all together as a family. We had to do one with him where we were all eating at the end of... Was it Crackers? Crackers Don't Matter? BB: No. It was, um... CB: Oh, the one where the, uh, the different realities on the ship. Red, green, blue... BB: Yes. There was that one, it was, uh, Through the Looking Glass. CB: Through the Looking Glass. Thank you. BB: Episode seventeen, season one. CB: [sighs] My memory. BB: [snorts] You remembered that he shot the scene. CB: Uh, I'm gettin' old. BB: Again, the steady cam. [chuckle, then old man voice] "You ain't as old as you are there, baby." CB: [chuckle] [Scene switches to pod flying back up to Moya.] BB: Oh! This is so sad! Oh, look it... I'm, I'm, you watch. Watch the ship wobble on the way in. It's a reuse here of they flipped it, but watch, it wobbles a little bit... Old people driving. CB: [laughs] BB: That's what I was alluding to earlier. Normally, it's a smooth entry for Aeryn, but this time she wobbled as she came in, because she was old. CB: Oh, look... BB: Ah. CB: [quietly] Great shot. [Pause as we see the docking bay door open and Zhaan asks, "John?"] CB: [still quietly] You were so lovely when you did this, I had to fight, it was very hard to stay still. [Pause as they watch Old Aeryn's death and Old John's lines about her dying.] CB: [softly] Mm. Beautiful. BB: Aw, that's... [clears his throat] CB: Cue the music. BB: No, nice. You, you know, but you don't, you don't really need us... It's all there. [pause] BB: It's really difficult, the episodes where you're selling someone as an old person. CB: Mm. BB: I, you know, and the, I can't actually judge whether it works or it doesn't work, but you know, I, I see an old guy there. CB: It's hard to be objective. BB: And, but you, now with you... CB: But wait, I can watch yours... BB: ...no question. I watch yours, I watch yours... CB: ...and, oh, I'm ashamed. BB: ...and I go, "Gosh, she's good." CB: No, I'm watching it going, "God, I'm crap, but look at Ben; he really nailed it." BB: No, no... CB: "He's really funny." BB: ...no, it's, "Ah..." CB: That's good to know. When I need you around next job I take or I get. Jesus. BB: Oh, you know, all you need around is Michael Shanks. We know that. CB: Who? BB: [laughs] CB: Sorry, Michael. Sorry, honey. BB: [clears throat] Michael Shanks is the John Crichton clone on Stargate. [laughs] CB: Who I just had the extreme pleasure of working with, hence we're having this conversation, 'cause I rang Ben and apologized 'cause I had a new leading man but for three days. I'd say four years versus three days... BB: Yeah, but, you know, that... CB: Cut me some slack. BB: ...doesn't matter. What did you do yesterday? Not what have you done for me lately, baby? Naw, actually Michael's a real nice guy. CB: It's funny... BB: That's what I hear. CB: [cracking up as she says this] ...there's a lot of similarities between the two, okay? BB: Oh, please don't start with that. CB: [laughs] BB: You know, I... You know... CB: He's a little bit younger. BB: [sliding into old man voice as he says this] When he becomes an old man, he's not gonna be sittin' around bein' a crotchety old woman chaser. [pause, then normal voice] Or he might be. [they both laugh, Ben more than Claudia] CB: Oh, boy! We gotta let him come in now and do some commentary. Have him, give him a chance to say something... Um, I think it, what's interesting to me watching this now is having finally where it's Crichton, but it's an old Crichton, still relating to the rest of the crew that are young. And to me, visually, that's really interesting. Something you don't see every day. BB: [chuckle, slight Aussie accent] "Not every day, love." CB: [Aussie accent] "Right." BB: [Aussie accent] "No." CB: [Aussie accent] "You don't. You don't what?" BB: [slight Aussie accent] "No, but..." CB: [Aussie accent] "You don't see it?" BB: [slight Aussie accent] "He's, he's an old bugger." CB: [Aussie accent] "That's right." BB: [Aussie accent] "Yeah, right." CB: [Aussie accent] "Yeah." BB: [Aussie accent] "Nice." CB: [Aussie accent] "Yeah." [pause] BB: I should've given him an Australian accent when he got older. [chuckle] CB: [chuckle] Let's face it, you spend a lot of your time there. BB: [chuckle] Yeah, exa... He, he just took it on. I don't think I could do that. [laughs] [pause] BB: Ah, it's a really different qualitative thing, uh, vocally for... CB: Mm. BB: ...for old Crichton there. Kinda like it. CB: Uh-huh. BB: I like that... CB: [unintelligible] BB: [switches to old man voice] rasp in the voice. Yeah. [back to normal voice] It's one of the few times when my voice is actually lower than yours. CB: [giggles] BB: [chuckle] But JUST barely. [laughs] CB: [deeper than normal voice] Yeah. Good morning, Ben. BB: We could talk about the story some more, but, you know, they've seen the episode. CB: That's right. And now they're watching it again... BB: The way this... CB: ...just to hear the [laughs as she says the rest of this sentence] pearls of wisdom that are coming out of... BB: Yeah. CB: ...us right now. BB: Oh, there is a part... At, at the end of this scene, um, where we're deciding exactly what the plan is... Gonna be another really bad Crichton plan, everybody's gotta... in the old days, everybody had to get onboard with the plan... everybody had to agree, with that, without exception. Then in later days, it's like if one person thought the plan was okay, it was all right. Crichton wanders off. Now, I, I was wanderin' off to the back of the set there, looking for an exit, and there was no way to go. CB: [chuckles] BB: And the scene actually continued on after I left. And I was... CB: [laughs] BB: ...just sort of wandering around in the background. CB: Like a dotty old man trying to find... BB: Like a dotty old man going, [old man voice] "How do, dah... need my address sewn on my clothes." [chuckle] [scene switches to old Crichton visiting dead old Aeryn on pod] BB: Oh, see? This is, it's... it's sentimental stuff. [pause] It's sad. CB: This is one of the many times I had to play dead on the show. BB: [chuckles] CB: This scene went on forever, and I was trying not to breathe, and... BB: You know, you know this scene was all too short. It was all too brief. CB: [unbelieving] Right. BB: This scene coulda gone on much, much longer. There was... CB: [begins snoring] BB: ...a lot more to say. What was that?! CB: [snores and giggles at the same time] BB: [laughs slightly] WHAT was THAT?! CB: That was me snoring. BB: [laughs] CB: This is the sound... BB: It sounded like Crichton farting when he sat back! CB: [chuckles] Well... BB: [laughs] CB: I do do foley. Anyone out there listening who wants someone to do sound effects for their, uh, low budget film... BB: All right. It, this, you know... It's one of the few reflective speeches that Crichton has. He has maybe one or two a year, and this is one of them. CB: [snores] BB: [chuckles] Basically, that's what she was doing on the day. CB: [chuckles] BB: She was back there sleepin' and snorin'. CB: The hardest... BB: You know, we shot this at the end of the day... CB: Mm BB: ...which is when wearing a prosthetic like this, and this is a hotflesh prosthetic, so it, it's translucent.... CB: And much [unintelligible]. BB: ...but at the end of the day, after you've been sweating in it all day, it's... it's, it's very difficult to keep it together. CB: Especially around the... BB: It wants to slide off your face. CB: ...eyes and the mouth. BB: Anywhere there's a join, depending on where the joins are, and everyone is designed differently by Dave. But, you know, there was a... It takes hours to make sure that thing isn't, you know, fallin' apart. The checks become really exhaustive at the end of the day. So the Creature Shop asked, "Can you please shoot..." CB: Are you gonna kiss me? [referring to the scene, of course] BB: "...the majority of the close-ups early in the day." CB: [quietly] Oh, he kissed me. Good God. BB: Yeah. CB: My God, you'd think when I'm dead, you'd finally leave me ALONE. BB: [chuckle] Yeah. CB: [chuckles] BB: It's good they didn't let me write this scene. It woulda been a whole different, a WHOLE different thing goin' on... Velorek, my ASS! CB: Oh, here we go... Here we go, he's gonna look in the locket. BB: I know. And this is why you want your hands done for old age makeup. CB: Yeah. [quietly, adoringly] Aw... Oh... [mocking lovey-dovey voice] I love you. BB: [chuckle] 'Cause if you don't do the hands, you're lookin' at, you know... CB: [sighs] BB: ...thirty some odd year old hands... CB: [still admiring the scene] Oh, sweet. BB: ...with that face. CB: He knew it was him. Was he just afraid to look before? BB: All right, now here's where the story really takes off. CB: Don't avoid the question. [they both laugh] BB: What was the question? CB: 'Cause we talked about it in the tag, when we go into the tag. We talked about the sense of them both knowing that, that there's something that there's grains of sand in the locket, and they both look at it. BB: Yeah. CB: And, and Ian wanted to have that sense of... BB: Yeah, no that's in the big print. CB: ...them both having awareness that something had happened. Something had occurred, but not knowing exactly... BB: Yeah, it's in, it's in the big print. It's our way of avoiding The Reset Button(tm). CB: Yeah. BB: And the other way of avoiding The Reset Button(tm), of course, is that our, our, um, our mystics here, Zhaan and Stark, who are going to somehow cause time to be un-held for Crichton... CB: Hm. BB: ...because they're in unity. CB: Yeah. BB: Whatever that means. CB: Yeah. BB: Don't try this at home, kids. CB: [chuckle] BB: [chuckles] CB: With some slow-mo, and... BB: This is... Yeah, we're, we're massively over-cranking the camera, which really makes the delivery of har, of lines in ADR difficult. CB: [laughing over this sentence] VERY difficult. BB: Forty frames is manageable. When you go to sixty frames, or seventy five frames, it becomes hard to match that dialogue. CB: We, uh, in first season we wanted to do a lot of the pyrotechnics you can see in the background? The sparks? They wanted to do all that with CGI. That's very expensive, and that, we found out it looks actually better to have a lot of practical effects on set. So a bit more dangerous for everyone, but we had a team that just LOVED to blow stuff up. BB: Oh, they were the best. CB: Oh, they were fantastic. In fact, Lou, at one stage, Stephenell [guess based on how it sounds], took, uh, what I refer to as a bullet for me. He ran in front of a spark that went off, and... BB: Yeah. CB: And, uh, took one close to the eye. Very good boys. [Scene where old Crichton asks, in slow motion, "Why can't Pilot do it?"] BB: [chuckle] See this is one of those that they're cranked at seventy five frames. Even, even playing with the frame, it's HARD. You know, I was actually tryin' to talk quick, 'cause I knew we were over-cranked, so I'm goin', [speaks quickly] "Well, why can't Pilot do it? [unintelligible]." And then when it comes back up, oh, okay, "I am too old for this..." CB: [chuckles] BB: "...SHIT.'" CB: [laughs] BB: That is what I said on the day. I'm sorry. That is what he meant. Ah, when we, uh, I came back in and ADR'd it, and it was, "I am too old for this SHIP." CB: [laughs quietly] BB: And that's what broadcast. But apparently, someone saw the wisdom of the ways, and put the word "shit" back in. No, for those of you who are underage, uh, to your parents, I apologize. CB: And we mean "dren"... BB: And, and I... CB: ...in that case. BB: ...would have said "dren," but Crichton doesn't usually use those words. Um, yeah... CB: Yeah, Rockne, Rockne came out with, with the word "frell," which our, I think, the first one that was... BB: Frell, dren, hezmana, yotz, you know, you name it. CB: Well, the hezmana... BB: Now we've just seen this. CB: ...and yotz were sort of more specific, I thought, culturally to each of the different aliens' backgrounds. Things that... BB: I... CB: ...couldn't be translated through microbes. That's what I like to believe. [Moya is starbursting out of the cloud.] BB: BOOM. Ah, this is cool CG. CB: Yeah, this is excellent. I, you know, Moya in starburst with a twist. BB: Yeah, it just sort of re-forms. Too bad we can't do that all the time. [pause] BB: I actually like this moment. I don't really understand how we got to this moment, but I really like it. CB: Where we're going now? BB: Yeah, I mean if you're gonna analyze, no, if you're gonna analyze, "We went back in time to right before..." I, I don't even know how Crichton figured that out, really. CB: Yeah. BB: You know, it's just... the leap of intuition. But I, I love the fact that Monjo doesn't spend fifteen pages giving me technobabble to explain what is essentially theoretical physist. CB: Yeah. BB: Physics. CB: Well, it all comes down to inexorably for me this is a romantic episode and they're two lovers who are meant to be together. BB: And if you hate romance, you'll hate this episode. CB: [chuckles] BB: If you hate hot, steamy, old romance... CB: [laughs] BB: [laughs] CB: Then look away. BB: And yet Zhaan knows. So we haven't actually hit The Reset Button(tm), because Zhaan and Stark know what happened. CB: Yeah. BB: There's that little plant that's gonna be a big plant later. CB: Yeah. BB: Earlier. Now see how confused... CB: [mock confused voice] "I'm so confused right now!" BB: ...I am... [same mock confused voice as Claudia] "I'm so confused, you know. Who wrote this episode?" CB: [mock starlet's voice] "It's a good thing I'm cute." BB: [chuckles] I can't even say that. CB: I'm not really. I don't really believe it. It's rare, if you know me. That's not something I'd say. [pause] BB: Wouldn't it be great if we went back into the mist and it said, "To be continued," at the end of this episode? [laughs] CB: [singing] "This is the show that never ends, NEVER ENDS!" BB: I, you... See, you just gotta carry these things to a natural conclusion. [Pause as they watch Stark and Zhaan tell the Moyans not to enter the mist.] CB: [laughing as she says this, and Ben joins her with a chuckle] Look how Chiana... It's a great choice from Gigi. She just always loves it when things go wrong, she just gets very amused by it. [Pause as they watch Chiana tell Zhaan that she had a feeling the mist was bad.] CB: Like a child, "I was right, see?" [Pause as John tells Pilot to hang a Luey, which causes Claudia to snort a short laugh.] CB: Ah, back in the days when we still had to describe, explain Earth things to Pilot. BB: Yeah, we still do it occasionally. I call him up every now and then and explain stuff to him. CB: I like that one in The Flax, "Slickit, slicker 'n snot." BB: [chuckle] Yeah, that's a good one. [pause] BB: This is, this tag has actually got the big setup for the end of the year, doesn't it? CB: Yup. BB: Yup. It's one of the difficulties of, of writing a story on Farscape is incorporating the arc stuff. The big arc for the series stuff in with the individual episode. in with the individual episode. Yeah, you'll find that you get to the tag and you haven't sufficiently addressed what needs to be done in the big arc, so it ends up in the tag. CB: Mm. BB: Hence, um, Stark, his reason for coming back was not just to serve as a plot purpose here. He now has a purpose in the script that doesn't actually appear 'till the end of the episode, which is, for the arc, he's gonna go give D'Argo a piece of information. And we still don't know what they're talkin' about. The audience still doesn't know what they're talking about, and they're not really gonna know 'till very soon. [pause] BB: And we're not actually in the tag yet. CB: No. BB: The tag... CB: This is a really long tag. BB: ...usually coming after the last commercial break. We're at the end of act four. The story's finished, and it's still going on, and the audience is going, "What are they talkin' about?" CB: Ah, D'Argo's son. BB: Now they know. [Pause as D'Argo learns that the slave is his son.] BB: We knew that was important. Big roll. CB: Yeah. BB: Big drum roll. CB: [chuckles] Back, oh, back after the ad break, and we're still there. BB: But, you know, obviosly, I wonder when they shot that picture of Jothee? 'Cause we were at ep fifteen here, he doesn't come in 'till nineteen. So... CB: They must've brought him... BB: Maybe an ins... CB: ...in for camera and makeup tests. BB: Either that or they shot it insert. CB: Mm. BB: They shot the insert and added it in later. CB: Possibly. BB: So on the day, Anth was probably lookin' at a picture of a, of a, of a naked charrid or something. CB: Yeah, that's right. No, yeah. Playboy centerfold. BB: [chuckle] CB: Staple shot. Isn't that what they call it? BB: A staple shot? CB: When you've got a staple in your navel. [they both laugh a little] BB: I wouldn't know. I don't even know what you're talkin' about. CB: So we're tying in sort of A, B, C stories. One's about Crichton and Aeryn and they're... you know... they're love, they're romance. And now here's D'Argo with a, a new agenda for the next few episodes. To go on searching for his son. [Scene changes to the maintenance bay with John and Aeryn.] BB: You know anytime we throw a big prop into foreground, I always wonder what it is. I have no idea what it is that I'm supposed to be fixing there. CB: Well, no, they would turn up on the day, and Andy Playfer [guess based on sound of name] would say, "Here's your prop for today, and I figure you could do this, that, or the other with it," and that's it. BB: I, I think there's probably some heavy machinery downtown that they, they came in one day and went, "Where's the alternator?" CB: [chuckle] BB: You, you know he's out, he's out boosting vehicles and just takin' parts. CB: Yeah. No, they get, they get parts from cars and then they stick some gold and silver piping on it so that it looks like it's a leviathan sort of hybrid piece of machinery. BB: Yeah. But I'm, uh, you know, honestly I have no idea... They, they dig stuff... CB: [chuckles] BB: ...machinery, and it's a mix of designed stuff, so, you know, half of the set is designed, and, and the half of the set is pilfered. CB: Yeah. BB: We actually once built a spaceship made entirely of garbage. CB: That was Reese, Reese Maldoun's [spelling guess] one. BB: No, th. there was, in the middle of season two, the Jakinch [spelling guess] cockpit was made entirely of scrap salvaged from a site. CB: I think it [unintelligible under Ben's voice] from reverse garbage [unintelligible under Ben's voice]. BB: There were, there were literally garbage cans and toilet seat lids. [Watching the scene where the locket is opened and dust is inside.] CB: Ah. Magic. Here we go... Slow-mo shot coming up... [John and Aeryn move closer as they look at the locket contents.] CB: Proximity. I think, from memory, we had to find a camera speed that was right to capture them. [Close-up of John and Aeryn looking at each other.] BB: Yeah. Oh, it's all about destiny, folks. All... CB: Stay tuned. BB: ...about destiny. CB: Watch that space with great interest. BB: Look at that. Is it a vase or is it two faces? CB: I reckon something's gonna happen between the two of them. What do you think? BB: No, I think it's all gonna end tragically. CB: Wow. BB: [laughs] CB: Tune in at the end of season four, it certainly does. BB: Well, isn't that where it ends? Uh... Not quite. I think there will be a "To be continued" on the end of the mini-series. Ask me in a couple years. Well thanks for tunin' in, folks. [old man voice] "This is old man Crichton..." CB: [chuckle] BB: "...from, uh, Hollywood, California, sayin', 'ah-ha!'" [chuckles] CB: [snores] BB: [old man voice] "I used to live on a boat..." CB: [snores more loudly] BB: "...way out in the Pacific Ocean. I'd catch fish. Sometimes it'd be a big fish. Sometimes it'd be a small fish." CB: [pretends to wake up] What? BB: "And these fish..." CB: Oh. BB: "...they had lots of beautiful colors." CB: You're still talking. BB: "Yeah. Go back to sleep." [END] |