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Archive for the ‘Stargate’ Category

My favorites and in no particular order…

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10.  Blue Jello

The blue jello predates my involvement with the show.  By the time Paul and I joined SG-1 in its fourth season, the gelatin was already de rigueur in most every mess scene, eventually, finding its way to Atlantis as well.  So what’s the deal?  Search me.  I seem to remember someone saying it was simply something the prop department whipped up one day that stood out, both for its neon properties and sheer ridiculousness, quickly becoming a comically beloved visual staple.

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9. O’Neill’s obsession with The Simpsons

O’Neill was full of Simpsons references and an admitted fan.  Why? Well, because most of the show’s writers were fans as well, although nowhere near as huge a fan as Richard Dean Anderson.  How big a fan was he?  So big that he attended the table reading of a Simpsons episode and was totally blown away by the experience.  Occasionally, he would even bring his daughter by my office to check out the various Simpsons-related dioramas and action figures that bedecked my shelf. Eventually, actor Dan Castellanetta guested on the show (Citizen Joe) and he and Rick hit it off.  They had a great time working together and, months later, Dan showed his appreciation by writing a Stargate/RDA-themed Simpsons episode to which Rick lent his voice talents.

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8. Pineapples

If you’re watching Stargate and ever happen to catch sight of a pineapple, there’s a good chance the episode you’re viewing was directed by long-time Stargate director Will Waring.  The pineapples were his signature visual.  More often than not, however, the fruit were so carefully camouflaged, most viewers would be hard-pressed to notice them.  Still, there’s plenty of fun to be had in trying.  I once asked Will “Why pineapples?” and he told me that on one of his first productions, he was camera operator on a scene involving a high speed chase.  For some reason, he put a pineapple in the car’s back window as a gag – and then forgot to remove it for the actual shoot.  As a result, for the entire high-octane chase sequence, there’s a pineapple clearly rattling around in the back window of our protagonist’s car.  Nobody noticed – until the dailies.  The director was livid and was prepared to fire Will – but the producer LOVED the pineapple gag.  Will got to keep his job – and the signature pineapple was born.

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7. The Big Wrench

Where Will Waring had his pineapples, director Martin Wood had his big wrench.  You’ll often spot it in the background, in the hands of Martin’s buddy and Stargate SG-1 Fight Coordinator Dan Shea, as he makes adjustments to equipment or simply walks around with this huge, oversized calling card.  Every once in a while, Martin would get into the big wrench background action as well, donning the persona of his onscreen alter-ego, Major Wood.

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6. Peter DeLuise’s Hitchockian touch

Whereas Will had the pineapples and Martin had the big wrench, director Peter DeLuise had…Peter DeLuise.  Before he was a director, Peter was an actor, and so it was only natural that he’d take a page out of Hitchcock’s book and make himself his own visual signature.  He appeared as a host of background characters and even played the part of the young Urgo opposite his father Dom.  Even in the most challenging of episodes, Peter found a way to make his trademark appearance.  Once, we thought he’d missed his cameo – only to discover he’d found an ingenious way to make a subtle appearance.  In one scene, as Teal’c sits in his darkened room, deep in meditation, we pull back to reveal he is surrounded by candles – several of which are assembled to spell out the initial “PDL”.

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5. Jonas’s voracious appetite

Actors have their trademark “bits” as well and, for Jonas, it was food. Whether it was buttered toast in Night Walkers or the infamous banana scene in Descent (which, incidentally, ran about three minutes long in the director’s cut), he was always snacking.  But he crossed the line in one episode where he showed up in the gate room sipping tea from a mug and had to be reminded – the tea mug was another actor’s trademark “bit” (see below).

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4. Magnets

Every once in a while, whenever Carter tried to explain some scientific or technological wonder, Jack would try to tie it back to magnets.  What was the deal with O’Neill and magnets?  Well, this one was compliments of Creator/Exec Producer Brad Wright who once had someone pitch him some ridiculous scientific theory.  When a dubious Brad asked him to clarify the faulty science, the other individual shrugged and offered: “Magnets?”.  It eventually became the stock response to every befuddling question of logic.

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3. The Wizard of Oz

This was another running joke that predated my involvement in the production but SG-1 was peppered with references throughout its ten-year run, culminating in the Wizard of Oz sight gag from the show’s 200th episode (200).  Of course, by that point in the series run, the line-up had changed, offering a slightly altered version of the originals: Carter as Dorothy, Daniel as the cowardly lion, Teal’c as the tin man, and, of course, Jack as the scarecrow.

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2. Indeed

If there is one word that perhaps appears in more episodes of Stargate than any other (beside, maybe, “stargate”), it’s “Indeed”, Teal’c's short and sweet one-word response to most anything he is asked – and sometimes not.  Actor Chris Judge even took to inserting the odd “Indeed” on occasions where it hadn’t even been scripted.  I knew we’d reached the point of no return when, while watching dailies one day, we watched as as someone asked Teal’c: “Have you seen him?” to which Teal’c replied: “Indeeed – I have not.”

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1. What the hell is in O’Neill’s cup?

Seriously.  This one is fairly subtle but after noticing it for the first time, I caught countless more.  Whenever Jack has a cup or mug in his hand there will come a point in the scene where he’ll glance down, frown, and then attempt to pluck some mysterious foreign object out of his drink.  Watch for it!

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Over the course of my 11+ years on the Stargate franchise, I heard my fair share of freelance pitches – some of them good, most of them fine but not quite what we were looking for, and a few of them truly horrible.  In the first case, kudos to those writers who were able to step up, well into the franchise’s run, take into into account Stargate’s immense mythology, and come up with an engaging, original idea that hadn’t been done yet (by us or Star Trek).  In the second case, thanks for trying and, while it didn’t work out, we fully appreciate that coming up with an original idea for this series is a daunting task.  In the third case, what the hell were you thinking?

What follows are some of my favorite from the latter category.  Worst.  Pitches.  Ever!

1. Tee-alc gets separated from the rest of sgi while on an off-world mission.  When O’Neil, Daniel, and Carter step through the gate, they end up trapped in another dimension where they must try to avert a nuclear showdown between India and Pakistan.

* Dude, seriously.  If you’re going to pitch for our show, do us the courtesy of at least watching an episode.  sgi?  Tee-alc?  Another dimension? Indian and Pakistan?

2. SG-1 visits a barren world, seemingly devoid of life.  While investigating the ruins of a long-dead civilization, the team is captured by a race of subterranean-dwelling humans obsessed with Earth’s pop culture.  Their captors are a bizarre mix of cowboys, gangsters, and guys in Beatle wigs.

* This pitch might have worked for Star Trek.  Fifty years ago.  Maybe.  But probably not.

3. The sequel to A Hundred Days.

* Great idea, but suggesting you want to do a sequel (with no tangible idea outside of the fact that you simply think it would be a great idea in the most general sense) to an episode you didn’t write in the first place isn’t going to land you that writing gig.

4. One by one, members of the Atlantis expedition begin to pop out of existence.  Where do they disappear to?  What is happening?  No idea.

* It’s all about set-up and pay-offs.  Anyone can come up with the intriguing mystery.  Coming up with the solution is, as Martin Gero informed the prospective writer: “What we pay you for.”

5. Carter is kidnapped by a race of men who require her for breeding purposes.

* Curiously, we’d get a variation of the “Gangbang Carter” pitch every season or so.

6. Teal’c is captured and forced to take part in a blood sport arena combat…to the death!

* Ah, the good old arena episode.  It never gets old.  Apparently.

7. SG-1 are the victims of a heist.  Their attempt to track down the powerful stolen artifact takes them to space stations, Star Wars-like alien cantinas, and a dangerous trek across a dessert planet, culminating in a confrontation with a powerful army.

* Yep, the budget for the entire season should just about cover the costs of this epic story.  If this one was ever produced, the ensuing episodes would have had to be radio plays.

I’m sure that this sort of thing isn’t confined to film and television.  I’m sure you’ve all been privy to your fair share of truly terrible ideas.  So let’s hear ‘em!

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A little something from the “How’d they do that?” section of the Stargate vault.  Here are some pages from the Trio Art Department package that break down a couple of the episode’s more ambitious stunt sequences…

The crate collapse

The crate collapse

The triangle plank

The triangle plank (that, incidentally, took Marty G forever to come up with).

Keller falls through the red door

Keller falls through the red door

The episode made use of the gimboled set that was built for Stargate: Continuum:

Gimboled set

Gimboled set (formerly the Continuum ship)

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The opening through which our heroes eventually make their escape.

Underground mine set elevations

Underground mine set elevations

 

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In advance of my official Days of Stargate Universe Past trip down memory, how about a little something to whet your appetite?  Ah, this takes me back!  The Resurgence Art Department package accompanied by visuals from various points in Stargate: Universe’s two-year run…

Resurgence - cover

Destiny corridors, areas & rooms

Destiny corridors, areas & rooms

Destiny corridors

Destiny corridors

The Gate Room…

Gate room - upper level

Gate room – upper level concept art

Gate room upper level - complete

Gate room upper level – complete

Looking out from the gate - concept art

Looking out from the gate – concept art

Looking out from the gate - completed set

Looking out from the gate – completed set

Central staircase

Central staircase

Gate room

Gate room

Gate room consoles

Gate room consoles

The control interface room…

Control interface room

Art Department

Art Department concept

At work in the core control room

At work in the core control room

The apple core…

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Carl figures it out

Carl figures it out

Kino room and Eli's quarters

Kino room and Eli’s quarters

Action in the kino room

Action in the kino room

Observation deck

Observation deck

The green screen view off the observation deck

The green screen view off the observation deck

Chloe's quarters

Chloe’s quarters

Wray's quarters

Wray’s quarters

Wray's artwork

Wray’s artwork

Varro's quarters

Varro’s quarters

In his quarters, Varro gets the red card for making the moves on Colonel Young’s ex:

Young's quarters

Young’s quarters

Stage 5 level 1

Stage 5 level 1

The Destiny mess - last day, final scene
The Destiny mess – last day, final scene
Destiny shuttle and corridor

Destiny shuttle and corridor

Under construction

Under construction

Coming along...

Coming along…

Look in to the shuttle from the corridor.

Look in to the shuttle from the corridor.

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Destiny infirmary

Destiny infirmary

Stage 5 level 2

Stage 5 level 2

Stage 6 layout

Stage 6 layout

So, there you go.  Everything you need (minus the construction material, equipment, manpower, and money) to build your very own Destiny!  Check in next week and let me know how it’s coming along.

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Television, like life, is just full of surprises.  Shows you expect to be huge hits tank while apparent duds become breakout hits.  Seemingly average episodes on the page magically come together onscreen while guest characters envisioned for a single episode appearance will pop, surpassing all expectations to develop into fan – if not writer – favorites.  Chalk it up to a number of things – the writing, the direction, the onscreen chemistry – but, in the end, you have to give credit to the actors who brought these characters to life and made them so much more.  Here are my Top 10 “guest stars to recurring favorites”.  Plus one for good luck!

1WALTER HARRIMAN

Played by Gary Jones.

First Appearance: Children of the Gods (Stargate: SG-1, Episode #101) as Chevron Guy.

First, he was simply Chevron Guy.  Eventually, he got a first name: Norman.  And, finally, he got another first name – and a last name: Walter Harriman.  In time, Walter became as iconic a part of SG-1 as the gate itself.

1OSIRIS

Played by Anna-Louise Plowman

First appearance: The Curse (Stargate: SG-1, Episode #413)

There’s something doubly, deliciously evil about a stylish villainess – triply so if she has an English accent.  Just too damn good to kill off in her first appearance, she returned for several more outings before her alter-ego, Sarah Gardner, got the happy ending she deserved.

1HARRY MAYBOURNE

Played by Tom McBeath.

First appearance: Enigma (Stargate: SG-1, Episode #116)

Everyone loves a good rogue, and Harry Maybourne was good as you could get.  Sneaky, self-serving, and an incredible pain-in-the-ass, he developed into a perfect foil for Jack O’Neill.  A rival worthy of respect and admiration.

1HERMIOD

Voiced by Trevor Devall

First appearance: The Siege III (Stargate: Atlantis, Episode #201)

The Asgard always had a dry sense of humor, perhaps none more than this acerbic fellow who, I suspect, would have been equally at home on Frasier.

1MICHAEL

Played by Connor Trinneer (and Brent Stait for one episode)

First appearance: Michael (Stargate: Atlantis, Episode #218)

What made Michael stand out was his complexity and depth.  A product of Atlantis’s own creation, he was an outcast at odds with his own identity.  Can you blame him for being angry?

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ACASTUS KOLYA

Played by Robert Davi

First Appearance: The Storm (Stargate: Atlantis, Episode #110)

Sure, aliens are plenty scary, but none proved quite as fearsome as Acastus Kolya.  It’s a testament to the character that he made an appearance even after his presumed death two years earlier.

1RADEK ZELENKA

Played by David Nykl

First appearance: Thirty Eight Minutes (Stargate: Atlantis, Episode #104)

The unassuming Czech scientist first introduced in Thirty Eight Minutes eventually developed into a beloved member of the expedition – and his verbal sparring with Rodney became a regular episode highlight.

1TODD

Played by Chris Heyerdahl

First appearance: Common Ground (Stargate: Atlantis, Episode #307

Dangerous and inscrutable, yet possessed of an almost palpable nobility.  He would develop into Sheppard’s most formidable adversary.

1BAAL

Played by Cliff Simon

First appearance: Summit (Stargate: SG-1, Episode #515)

As far as villains go, you’d be hard-pressed to find one more stylish or possessed of a better sense of humor.

1VALA MAL DORAN

Played by Claudia Black

First appearance: Prometheus Unbound (Stargate: SG-1, Episode #812)

A mercenary with a heart of gold (she would certainly trade in for cash if she could) – and serious trust issues – went from hijacking Daniel Jackson to earning herself a spot on SG-1.  Damn, she was fun to write for.

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RICHARD WOOLSEY

Played by Robert Picardo

First appearance: Heroes II (Stargate: SG-1, Episode #718)

From irritating pencil pusher to lovable Commander in six short years. His road to redemption was a joy to behold.  And script.

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3Looking back over my 11+ years with the Stargate franchise, I have one giant regret – the missed opportunity of bringing you that Atlantis movie.  We came close…so close…

Late in Atlantis’s fifth year, when we were working on the final few scripts of the season, we had no way of knowing what the future held. A sixth season?  A wrap-up movie?  Robert Cooper suggested we hedge our bets by preparing for both.  His idea was to add an extra month to the production schedule during which we would shoot the sixth season opening two-parter that, in the event the show wasn’t picked up, could become a direct-to-dvd feature.  It was a brilliant plan which I, in turn, proposed it to the decision-makers.  Given the green light, we could roll right into production on the heels of Enemy at the Gate.  We just needed the go-ahead sooner than later in order to make sure we had all the actors on board.

Sadly, we never got the go-ahead and, although we did end up eventually writing the script for the Atlantis movie (Stargate: Extinction), in hindsight, that window of opportunity at the end of the show’s sixth season was our last, best shot at seeing it made.  The bottom fell out of the dvd market, the script was shelved and, well, here we are today.

As I already mentioned in past entries, the movie would have opened on a shot that revealed Atlantis’s new home on the lunar surface.  We learn that the gate has been offline since its return to Earth but, under pressure from the IOA, the decision is made to bring it back online, have it supersede the Earth gate, and make it a permanent lunar base. The decision isn’t embraced by everyone.  Woolsey and McKay, for instance, point out that they still have a responsibility to the people of the Pegasus galaxy.  Of course the IOA are hardly moved.

Unfortunately, when the gate is finally brought back online, Zelenka reports a build up of energy in the capacitors.  Too late they realize that the Ancients put a failsafe in place in the event Atlantis was moved.  McKay realizes – the city will self-destruct unless it returns to the Pegasus galaxy.

Woolsey gets the band back together, transporting John and Ronon up from the hospital emergency room where they are getting fixed up following a bar room brawl (an opportunity to write in the scar actor Jason Momoa had received at the time).  John, in turn, pays a visit to Area 51 and, again under the heavy protests of the IOA, springs his buddy, Todd.

The plan is to use the wormhole drive to execute a series of jumps to Pegasus – however, the drive burns out partway through their journey, stranding them in the Triangulum Galaxy, some 300 000 light years from home.  They manage to muster up enough power for one, final short range jump, putting them within range of a subspace anomaly they detected.

What follows is a high-flying adventure involving a mysterious civilization tapping the limitless potential of the accretion streams between two stars, time travel, and a race against time to avert not only the destruction of Atlantis but the extinction of an entire race.

Some of the standout sequences that come to mind include one in which Sheppard ends up trapped on an enemy mothership, falling back to a room holding some of the tech the enemy has stolen from Atlantis. Enemy soldiers surround the locked chamber, preparing to storm it when – the door shakes, buckles, and blows outward to reveal Sheppard in one of the Asgard exo-suits.  Cue kickass Iron Man sequence.

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Another involves Todd risking all to ambush a future version of himself aboard the bridge of the enemy mothership, saving Atlantis from a final, devastating attack.  The two battle. “So young and impetuous,”remarks Future Todd.  ”So old and foolish,”counters ours. Eventually, Future Todd gets the upper hand and pins his opponent. He raises his dagger for the finishing blow – only to have someone reach in and grab his wrist.  Rodney McKay to the rescue.  Allowing our Todd seizes the opportunity to turn the tables.

John and Todd make the most unlikeliest of odd couples in this one, forced to work together for the greater good.  ”If I had to pick one thing I like best about you,”says Sheppard during one hair-raising moment, “I’d have to say it’s your sense of humor.”  A stone-faced Todd informs him: “Yes, back on the hive, I was known as “the funny one”.”

Enemy fighters are scrambled, Beckett takes the chair, the mother ship faces off against Atlantis, the city takes significant damage, Teyla suffers a terrible loss, some wonderful heroic moments for Ronon, McKay, and Teyla as well.

Atlantis ultimately returns to the Pegasus galaxy where Todd is granted his freedom.  ”You did save the city after all,”explains Woolsey.  ”Of course I did,”says Todd.  ”How else would I have gotten home?”.  And, in a moment that demonstrates how far things have come, John gives his former enemy a parting handshake.  Woolsey hopes that, some day, their paths will cross under better circumstances.  Todd agrees.  ”It would be wonderful to have you for dinner sometime,”he says before heading through the gate.

Atlantis re-establishes itself, Beckett gets his turtles back from Rodney and assumes a permanent position as Atlantis’s new head of medical R&D, and John comforts a grieving Teyla now aware – via the revelations of time travel – that they are destined to be together.

And we fade out on a night shot of Atlantis, a jewel on the water…

Yes, it would have been a great movie, but I think it would have been an even better sixth season two-part premiere.

And, yeah, we had long-range plans for that too:

2September 30, 2008: An AU Season 6!

Now that I think about it, I believe 619 and 620, the two-part season finale, would have involved an idea I’d been kicking around involving our team returning from a mission to an AU Atlantis that has been taken over by a mysteriously resurrected Michael, its personnel (Woolsey, Keller, Beckett, even Chuck!)  now hybrids in league with their former enemy.  Damn.  So many opportunities missed!

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So, how’s everyone doing?  Good, good.  Enjoying the long weekend? Great.  Here in Vancouver, it looks like we’ve finally put winter behind us.  The sun is out, the temperature has risen, and my french bulldog, Lulu, is in full spring mode -

Toasty

Toasty

Ready to hit the park - little buddy in tow

Ready to hit the park – little buddy in tow

Out and about

Out and about

As for me – well, I’m taking the long weekend off.  I plan to hit a couple of farmers markets, do a little dim sum, sit in my backyard with the dogs and read – maybe even get around to trying that bottle of Absinthe if I remember to pick up the sugar cubes.  Oh, and, of course, update this blog.  There are a few subjects I want to hit, some thoughts on the ill-fated Atlantis movie I’d like to post, a Supermovie of the Week review I need to remind Cookie Monster about, and those Art Department packages I’d like to upload.  But, for today, let’s just concentrate on one -

Unfortunately, I don’t have the entire Spoils of War package but, or the wraithly inclined, I did come across these pink tech pack revisions…

Wraith facility - cloning chamber & corridor chamber

Wraith facility – cloning chamber & corridor chamber

Ah, this takes me back.  In addition to our standing stages at The Bridge Studios, we would also make use of the stage at Norco which housed, among other things: various wraith facilities, hive, Earth, and goa’uld ships.  Eventually, we consolidated production so that, in the final few years of the franchise, all of our standing sets were at the Bridge.

Wraith facility - corridors

Wraith facility – corridors

Why did we refer to them as chicken legs and mushroom consoles?

Mmmmmm

Mmmmmm.  Tasty-looking chicken legs.

The HERO mushroom console

The HERO mushroom console

Wraith facility - Queen's lair & corridors

Wraith facility – Queen’s lair & corridors

“Projector to be hidden behind chair riser”.  Well, ideally.  I remember watching dailies of one episode where the projectors were exposed for all to see.  They were so cool and techy looking that the director (not one of our regulars) assumed it was actually part of the wraithy set dec.  Also those “umbilicals strewn across floor in Queen’s lair” and other wraith ships and facilities were the perfect cover for wires and electrical cords.

Wraith facility - entrance

Wraith facility – entrance

Greens: “Dense mixed forest green set outside North entrance”.  Yep, one of the many talented departments that made up the production was “Greens” who were tasked with creating believable vegetative backdrops.  In this case, just a touch of forest greens give a hint of an exterior beyond the entrance way.

Puddle Jumper

Puddle Jumper

From the comfy confines of Stage 1, the puddle jumper would travel throughout the Pegasus Galaxy and back through the magic of that greenscreen out its front window.

Wraith dart

Wraith dart

I always liked the design of the wraith darts, alternately organic, techy, creepy, and comfy-looking.

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This week feels like the calm before the storm.  Of course, I could be wrong and it may actually be the calm before the calm before the storm.  Or, worse, the calm before the storm that never comes.  Paul and I are closing on several writing assignments (an action feature, an SF pilot, another SF pilot), and a few projects poised to move forward (development on one, going to camera on another pilot, and a potential series pick-up on a third), but, of course, in this line of work nothing is assured.  Things certainly look promising but, in all fairness, they’ve looked promising for some time now as we’ve maintained a holding pattern in expectation of a decision, one way or the other.

I’m considering working on another spec pilot or going the kickstarter route and just shooting that horror script, but I fear that the moment I start on either, one of the aforementioned deals will close and I’ll have to switch gears.

For better or worse, things seem to be coming to a head so here’s hoping that, sometime next week, I’ll be able to make a big announcement.

In the meantime, I’ve got this blog to keep me busy – and this entry in particular.  As I mentioned in a previous post, I have a slew of Stargate plans – blueprints, schematics, sketches, and designs – from the last few seasons of Atlantis and both seasons of Universe.  Most of these are huge, oversized documents that need to be scanned and digitized. About a dozen, however, are part of Art Department packages for specific episodes.  Rather than offer them up in order of their air dates, I thought it would be more interesting to just pick them at random and upload them as dedicated, individual blog entries.

And so, since you asked, today’s entry offers up a host of Atlantis designs.  From the season 4 two-part opener Adrift/Lifeline:

Adrift:Lifeline coverDuring prep week, the Art Department assembles a package containing an overview of the various sets and builds for a given episode.  As changes are made, the package is tweaked and these progressive stages are reflected in the color of the ensuing drafts.  For those of you interested in learning about the various revisions and their corresponding colors, check out my explanation here: March 10, 2008: THE ULTIMATE EXTREME EXTRA SUPERFANTASTIC BEST LUCKY ULTRA NUMBER ONE FINAL FINAL DRAFT

Atlantis - Control Room

Atlantis – Control Room

While there was a four month hiatus between production of the third season finale, First Strike, and the fourth season premiere, Adrift, hardly any time had passed onscreen.  Thank goodness for our eagle-eyed Art Department who placed little continuity reminders throughout: “One monitor was askew at end of First Strike” and “First Strike continuity – windows OUT throughout/aftermath still in place”. These, of course, a reference to the blast that blew out the windows at the end of the season finale, seriously injuring Elizabeth.  A reminder also goes out to the various other departments for a Zelenka leg brace and that nasty-looking piece of glass that embeds itself in Ronon.  By the way, there’s a reference to “large piano in deep background”. Obviously, we’re not talking about an actual piano – rather, a control console that resembled one (thus the nickname).

Keller's lab

Keller’s lab/infirmary

Clearly, the meager two-bed set-up is optimistic.  Room for plenty more in the event of some unforeseen catastrophe – like an Asuran attack.

Atlantis ZPM room

Atlantis ZPM room

I love the reminder to “check ZPM functioning”.  And then, just in case someone actually did check and found it lacking in the expected energy requirements: “one section lights up”.  Oh, is that all?  Another reference to those darn “pianos” and continuity reminder as per “The Siege”.

Atlantis - balcony

Atlantis – balcony

Whenever we shot outside, on the balcony, we tended to stay on our characters and relied on lighting, the occasional breeze, and the grey practical backdrop to convey a sense of an overcast day.  In scenes where we actually wanted to see the background, we relied on our VFX team to create something convincing – in this case, a beautiful night-time twin-moon view.

Atlantis - halls & corridors

Atlantis – halls & corridors

That, of course, is the gate at bottom left.  The door to Stage 4 (via the productions offices), where the Atlantis set once stood, is corner right.

Elizabeth's office

Elizabeth’s office

The layout didn’t really change despite the changes in command although the set dec was a little different.  Whereas Elizabeth’s tastes ran to the artistic (ie. Athosian statuettes), Carter added a more personal touch in the various photos that lined the back wall. Woolsey’s office was a little more austere, but he did include a personal touch with the photo of his beloved yorkie, lost to his wife in the divorce.

Replicator core room

Replicator core room

The layout of the replicator core room looks a lot like the Atlantis gate room.  Note the tiny human figure at the bottom left, included for scale.

Replicator City - control room

Replicator City – control room

This being the replicator version of the Atlantis control room, set dec is reminded to strip away all Earth touches like computers, desks, and chairs.  Things should be just as they were the last time we were here – in the episode Progeny.

Operating room

Operating room

The doors on the right presumably lead out to the infirmary and the area is “dressed” as such – gurneys, equipment – to suggest the operating room adjoins it.  Since the doors on the left remain closed, we have no way of knowing what’s on the other side.  My guess is the home theater room.   On the bottom left is a note to Prosthetics/Make Up re: Weir’s skull/brain swell.  I remember seeing the “brain swell” demonstration and being impressed (and slightly nauseated) by the very realistic brain that expanded as air was pumped inside.  If I remember correctly, it was the work of Todd Masters and Masters VFX.

Infirmary outside operating room

Infirmary outside operating room

This is the area Ronon walks out of to visit Weir and deliver his bedside talk – one of my favorite scenes of the two-parter.

Damaged hallways

Damaged hallways

This was shot in the VFX stage, the biggest on the lot.  This is where we shot the space jump.  There’s a note: for the greenscreens and “Atlantian floor treatment, bordered by green” because the view of the devastation below is a visual effect.  Up top, construction is asked to pockmark the wall with “asteroid” (meteorite) hits.  Wonder where they got the meteorites?

Hallways - outer city

Hallways – outer city

This, the VFX stage, was so massive it actually held several sets simultaneously including, at one point or other, the village, the hive ship, and the various Earth ships.

Chair room

Chair room

And before we took over the space, it was the set of one of the Blade movies – which is why we would occasionally refer to it as The Blade set.  Love the attention to detail on the snowflake design bordering the chair.

Atlantis - halls and corridors

Atlantis – halls and corridors

There’s a note regarding “Gurney will roll into McKay’s Lab/Infirmary & Operating Room”.  This is, of course, part of the frenetic opening sequence in which a badly injured Elizabeth is wheeled through the halls and into the infirmary.  So frenzied, in fact, that we didn’t notice that part of the medical equipment being wheeled through the shot off the top wasn’t medical equipment at all but actually a camera.

Replicator City - corridors

Replicator City – corridors

Again, similarities to the real Atlantis are intentional on the part of the Asurans – but certain visual cues suggest a different location. SPFX/PROPS are reminded what they need to bring to the party for the scenes in which the replicators hit the AR fields: weapons and, of course, aluminum shavings.

Holding cell

Holding cell

An interesting set.  While there was certainly enough space between the bars to accommodate our cameras, one could argue there was also enough space for a determined prisoner to slip through.  Which is why there were always guards posted on duty.  Still, I would argue you wouldn’t need guards if that cell would have been just a little more secure.  What were the Ancients thinking?

Asuran City - ZPM room

Asuran City – ZPM room

The south wall was presumably an issue so we just got rid of it.  Bless the set’s modular design.

Puddle jumpers on Asuran rooftops

Puddle jumpers on Asuran rooftops

I always preferred the coziness of the jumpers over the roomier Universe shuttle or utilitarian SG-1 cargo ship.  As I mentioned in a previous post, “gak” refers to the exposed inner-workings/guts of some high-tech device – in this case the ARG.

Puddle Jumper Bay before take-off

Puddle Jumper Bay before take-off

It’s amazing the amount of work and detail that went into shots that would last mere seconds onscreen.  But they went such a long way toward creating this world.  None of this: “Hey, we parked the jumper up on the roof.  You’ll just have to trust us!”.

Limbo set

Limbo set

One of three different looks outside our parked jumper.

Midway Station

Midway Station

It wouldn’t be until much later, in the aptly titled Midway, that we would actually get a tour of the place.  Check out more floor plans of the station here: March 15, 2013: Things Stargate!  Note: “All objects in this area must appear to be strapped or bolted down to sell zero-gravity”.  Check out Carter’s zero-g ballet, compliments of VFX Supervisor Mark Savela and his crew, here: September 4, 2012: Days of Stargate Atlantis Past! SGA’s Fourth Season! Adrift!

Apollo Bridge

Apollo Bridge

Yes, now that you mention it, it DOES look very similar to the bridge of the Orion, the Prometheus, and the Daedalus.  Oh, and the Korolev and Sun Tzu if you must know.  But that’s because Earth built them on the same designs.  Of course you know you’re on the Apollo thanks to the “dimensional brass Apollo plaque”.

Atlantis to M35 117

Atlantis to M35 117

And, since some of you asked, the Art Department packages also contained gate addresses when appropriate.  Point of Origin: Atlantis = Subido.

Atlantis to Earth

Atlantis to Earth

Always wanted to dial Earth from Atlantis?  Well, here ya go.

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In Stargate: Universe’s second season, the crew finally discovers Destiny’s bridge.  From a creative standpoint, holding off the discovery until then allowed for some great drama: Rush’s attempts to hide it from the rest of the crew, the subsequent attempts to control the ship, etc.  Also, waiting until season two permitted us to give it a truly worthy. singular reveal rather than lumping it in with the rest of the ship.  From a production standpoint, holding it off the discovery made even more sense.  The portions of the Destiny built for season one cost several millions and we simply couldn’t afford to include a massively expense bridge as well.  And so, rather than settle for something simple, we waited a year until we had the money to do it right. And, boy, did it we ever.  It was, simply put, a thing of beauty:

Destiny Bridge and adjoining corridor

Destiny Bridge and adjoining corridor

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Under construction.  

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Early season two.  The finishing touches in place.

The bridge was located in Stage 5 on and what made it all the more impressive was the fact that it was a raised, massive second level structure.  Directly below it stood the mess and shuttle.

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David Blue (aka Eli Wallace) getting a feel for the place.

1James Robbins did a terrific job designing the bridge, and our construction department went above and beyond the call to build it. But the work didn’t stop there.  It had to be properly lit and, of course, we needed the Playback Department to work their magic.  ”What’s the Playback Department?”you ask.  Well, whenever you see an onscreen image be it a holographic map or computer data or scrolling alien script, you can thank the Playback Department.  On the surface, it seems like such a small thing but, in reality, those incredible, painstakingly detailed graphics go such a long way toward setting the mood.  Some of the stuff they come up with was downright incredible.

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The Captain’s chair.

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Commander Carl Binder

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Carl makes it go

To give you an idea of the great work of our Playback Department, check out the designs for the onscreen visuals – then check out the finished product…

Bridge chair (left arm)

Bridge chair (left arm)

Bridge chair (right arm)

Bridge chair (right arm)

Bridge standard text

Bridge standard text

Ship Systems (left)

Ship Systems (left)

Ship systems (right)

Ship systems (right)

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Patrick Gilmore (aka Dale Volker) took a crash course in weapons and nav systems.

Navigation Systems (left)

Navigation Systems (left)

Navigation Systems (right)

Navigation Systems (right)

Sorry.  Couldn’t track this one down.  You’ll just have to take my word for it.

Weapons System (far right)

Weapons Systems (far right)

Weapons systems (standard)

Weapons systems (standard)

Pretty amazing, no?

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I had a feeling that trying to sell my car would prove a giant pain in the ass.  As it turns out, the experience has surpassed expectations. Initially, I thought I’d save myself the hassle by contacting my local Audi dealer and trading my Q7 in as part of a new vehicle purchase – but the salesman I spoke to actually convinced me that I’d be better off selling the car privately and then putting that money toward that new car.

And so, following his advice, I did my homework, snapped some photos, posted an ad on craigslist that included details like the low mileage and the fact that I would also throw in both summer and winter tires.  And waited.  And waited.  And waited some more.  At first, I assumed that craigslist had failed to publish my ad, so I went to the Cars & Trucks section and found it.  Yep, there it was – along with the other 500+ automobile ads from other private sellers but mostly dealers who positively swamp the section with their listings.

In hindsight, I should’ve found a way to work my Q7 into an episode of Stargate and then auction it off.  Hey, remember the all-terrain wraith-mobile from Tracker?  Or the five passenger space shuttle with the moon roof that the Asgard use in First Contact?  Or the SUV Sheppard and the gang drive off in at the end of Enemy at the Gate (a scene, now that I think of it that, that may have been cut for time)?  Yes? No?

The other day, someone asked me if I had blueprints of the SGC.  I looked through my old Art Department handouts and these are what I came up with.  From Stargate: Atlantis episode #412, Miller’s Crossing:

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SGC Facility

Shallow Money Pit Hallway?  It was used for the crucial Icarus Base evacuation/corridor cave-in/explosion sequence in the Stargate: Universe opener.   Back in the day, we used to see a lot of that Long Tall Hallway – for instance, the scene in Window of Opportunity where Teal’c keeps getting hit by the door.

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The Gate Room

There’s a note for the Art Department: “Gate address “Pegasus to Atlantis” (attached)”.  In fact, pretty much every episode the gate was used included a gate address breakdown as part of the Art Department package.  If you’re interested – and if you are, then I’m assuming you must be a pretty hardcore fan – I’d be happy to scan and upload a few.

There are also notes for a greenscreen VFX and rear-screen puddle projection.  Simply put, every time someone interacted with the puddle, it was a VFX shot.  In the early years of the show, you rarely saw the puddle unless someone was actually going through it simply because it was too expensive to show.  More often than not, you would play the “puddle effect”, that tell-tale shimmer of lights playing off someone’s face as they looked at the off-screen puddle.  Eventually, we started to make use of a puddle projection that allowed us to glimpse more of the puddle – less at the beginning because the visual wasn’t all that convincing, but more in the franchise’s later years as the visual improved.

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Control Room

There’s a note for Construction to include the “iris plug” in the event director Andy Mikita wanted to feature the gate in any of his planned shots.  When not active, the SGC gate had an iris in place which was fairly convincing onscreen but much less so up close.

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Lab and Hallway to Lab

Sort of like childproofing a room except, instead of a toddler, you’re preparing for a soul-sucking alien guest.  I always liked the observation room/lab set-up but it’s a room we rarely had occasion to use.

There is a reference to “2 hero workstations”.  The term “hero” refers to something that will be featured onscreen/used by one of our characters.  As a result, it should be the more convincing of the various versions in a given scene.  The hero zat gun, for instance, actually had some operating parts (short, sadly, of actual stunning/killing/disintegrating/lock-picking capability) as did one of the hero staff weapon.

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Work Area/Boardroom

Don’t remember the scene but I assume this was a different boardroom than the one located above the control room.  It was there, at the long table, that Hammond would discuss off-world missions with SG-1. What struck me most about the boardroom back in the day was how chipped and weathered that table was – and what pains the director must have gone through to shoot it in a way that concealed all those blemishes you couldn’t help but notice every time you visited the set.

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Mess Hall

Home of the infamous blue jello and WoW Fruit Loops.

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Sheppard’s Quarters

Where’s the t.v.?

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Holding Room

For the “other” guests.  If I remember correctly, this was Vala’s room.

I know, I know.  I’ve really got to get around to scanning and digitizing the rest of these files.  In the meantime, interested in checking out anything else?  Destiny?  Atlantis?  Those various gate addresses? Wraith facilities or Sheppard’s family home?  Let me know.

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