* 1. Moore discussing his first-ever stint in the director’s chair
* 2. Moore discussing the 100-day WGA strike
* 3. Non-spoilery Battlestar info
* 4. Somewhat spoilery Battlestar info that you can probably safely read after you’ve seen Episode 1 of Season 4 (you can read it before that if you’re OK with discussion of some general story themes that coming up. This section doesn't reveal many plot points.)
* 5. The final bit is pretty spoilery material
Section 1: Directing Battlestar Galactica
MR: You’re directing an episode this season, right?
RDM: Yep, I’m prepping it now.
MR: Are you directing the twelfth episode?
RDM: Yeah, No. 12 [which started filming March 25].
MR: Why that one?
RDM: Originally, way back when we were laying out the original production schedule [before the strike], we envisioned taking a production break between the first 10 episodes and the second 10. So I thought I shouldn’t direct the first one back [after the break], I should direct the second [i.e., Episode 12 of the season]. But then everything kept changing, and we didn’t take the break, and then the strike happened [and just after the strike began, the ‘Battlestar’ cast and crew finished shooting Episode 11].
It actually worked out for the best. I’m up here prepping the episode and no one has anything to do but help me. I’m spending a lot of time with the director of photography walking through the sets and talking about things. If we were in the normal production mode, he wouldn’t have the luxury of spending so much time with me.
MR: Is it an episode you’ve written?
RDM: Yes.
MR: So in that second bunch of 10 episodes, which ones did you write?
RDM: This [twelfth] one and the finale.
MR: I thought you would write that. So are you afraid of directing?
RDM: Oh sure, I’d be a fool not to be. You have to approach it with a healthy respect. But I’m doing it with the family, everyone’s very supportive, they all want me to succeed and it’s a very positive atmosphere.
I’m just smart enough to know what it is I don’t know and try to learn as I go along, and accept that you’re going to make mistakes and there are going to be things that are not going to be perfect. But it’s exciting. It’s fun to stretch and try something new.
MR: Is this something you’ve been contemplating for a while?
RDM: I’ve thought about it on and off for a long time. People have asked me over the years, ‘When are you going to direct?’ You know, I always felt like, I’m still learning this job and didn’t burn to go and learn another.
Over the last couple of seasons, I’ve thought about it more, and thought, if I’m going to try this, this is the place I should do it. I should do it with these people, on my show, it should be the last season. I just decided to pencil myself in and then do it.
MR: What are you most excited about and what are you most worried about? Do you have any sense of what the biggest challenges will be?
RDM: I think the most interesting and the most challenging thing at the same time is dealing with the actors on the set and working out the scenes and performance. I mean, I talk to the actors all the time, but from a different chair. It’s as a writer and as a producer. It’s a different language and a different concept than creating a moment on the set.
The thing that I have the most trepidations about is the thing that I’m most excited to do. It’s really making what I’ve seen in my head and written down on paper come alive in the moment. That’s really an interesting place to go.
MR: So when something new and maybe even slightly different is found in the moment on the set, is that one of the things you enjoy most?
RDM: Yeah, I’m always really intrigued to see how scenes shift and change once they’re in the hands of the actors and the director, and it’ll be exciting to be part of that process. One of the great things about the series is the way we’re free with it, the way it evolves and changes and you discover all kinds of different layers or character moments that [weren’t foreseen]. Not everything can be planned in advance and certain things just happen on the stage.
MR: There are some shows where the actors seem to be in lockstep and seem to be told, “Hit this mark, say these words.” But the “Battlestar” actors seem to be more empowered to find the characters and flesh them out.
RDM: Yeah, absolutely. Part of what we want the actor to do is figure out how these words fit in their mouths. How do they think their character would say this and react? Does it feel natural? If not, what does?
I mean, you’re trying to keep it within a certain framework, you still want to get from A to B, even if the journey there is slightly different, you have to make sure you’re still getting to the same place in the script.
MR: When do you wrap the season?
RDM: End of June.
MR: Is John Dahl [the director of "Red Rock West" and "The Last Seduction"] still on board to direct an episode?
RDM: Yes, he’s directing the one after me.
MR: Are there any other “name” directors who’ll be shooting episodes in the second half of the season?
RDM: There are but a lot of things are still in flux, we’re still trying to get confirmation, we don’t have anybody locked in.
MR: Er, I heard about one person in particular who might have been on board to direct…
RDM: Who’s that?
MR: Joss Whedon.
RDM: I’m not sure that’s going to happen or not, because he’s got his series [‘Dollhouse’] now. He really wanted to do it, but I’m dubious that it will work out.
MR: That would have been pretty cool.
RDM: It would have been a trip. We were all really excited, but between the strike and his series, it just doesn’t seem like it’s going to happen.
MR: Just going off on a bit of a tangent, when I saw the theatrical screening of “Razor,” I really was struck by how good it looked on the big screen. And in particular the special effects were really impressive. The same was true of the first episode of the season. It seemed like the special effects are even more amazing as the series goes on.
RDM: Yeah, it’s the nature of that particular aspect of the production. The effects keep getting cheaper, and you keep getting more of them, and the artists get better and you just keep building on the work you’ve done in the past. And it’s faster. The pre-viz, the animatics [preview images] that we get in editorial – they would have passed for final [effects] a few years ago.
MR: It seems like there’s this painterly quality of composition to them, that there’s this incredible attention to detail. The way things move on the screen…
RDM: They are doing a great job. Sometimes I’m pulling them back -- sometimes they’re too beautiful and they’re doing such great work that they’re taking me out of the show. We lose the documentary style, the rough-and-ready style that is kind of the hallmark of the show. It’s the fine line of trying to say, ‘You know, this is amazing, beautiful work, let’s make it less beautiful.’” [laughs]
Section 2: The WGA strike
MR: Regarding the strike, what’s your sense of how that worked out?
RDM: I was happy with it. I felt like it was do or die on essentially the principle of, establishing the [precedent] that the guild will be compensated going into new media. At the outset there was a refusal to deal on this issue in any way. Then it was, ‘OK, we’ll deal on it but in this ridiculous way.’
I knew there were going to be compromises and we weren’t going to get everything we wanted. Neither would they. It was about, were you really going to break through on the fundamental issue of whether the guild would have jurisdiction and that a framework [for online compensation] was going to be set up.
We all lived with the memory of what happened with DVDs and we didn’t want to set a situation where we were locked in perpetuity to a really bad formula. Then we’d all be really angry about it for the rest of our lives. So the fact that it didn’t go down that way, and the fact that we established the framework and the principal of what it is – yeah, I’m happy with it. I think ultimately [the strike] was worth it.
The thing that I carry away the most, even more than the nuts and bolts of the agreement itself, was the sense of solidarity of the union. I joined the union in 1989, right after the ’88 strike, and the feeling was that strike had been a failure. I think you can argue the points one way or the other and some people would argue that it wasn’t, but overall, the sense was that it was a failure. There was a lot of recrimination, the feeling that it was a bad deal.
And over the years, as each contract came and went, there was a sense that the union wasn’t that strong, that we were getting taken advantage of and that no one took the union seriously, that the WGA was just a punching bag.
And this time it felt like, “No, we are not going to take this, we are going to stand up, and we are capable of it.” We were capable of pulling off a strike, of organizing it, of sticking with it. We brought the town to a stop. We had a huge impact. Now I feel proud to be a member of the WGA, and I feel proud of the way that everyone conducted themselves on our side of the table. There’s a real sense of pride and that’s new, and I’m very happy about that.
MR: During the run-up to the strike and throughout the strike, TV showrunners became a very prominent part of the WGA, they seemed pretty united and very influential in determining the course of the strike. I’m not a student of the WGA, but did you get that sense that that was a change from how things had been?
RDM: Yeah. It was the first time [showrunners] became a discernible group. It was a term that had always been bandied about, but it wasn’t really an identifiable group. But the guild had made an effort [in the year before the strike to have dinners and meetings for showrunners]. And there is a sense now that there is a group called showrunners and they wield power and they wield authority. Not so much as a formal body like a committee but as an identifiable group of brokers.
And that’s interesting because that wasn’t really the case before. It’s not like there’s a ‘screenwriters group’ or any other kind of subcategory of the guild. But the showrunners [group] seemed to have a sort of cohesive body to it, you could say, ‘These are people that do this job and have these interests.’
MR: I think that term has become prominent because it’s a way to say, these people are at the center of a whole host of things related to a show – there’s a TV program at the heart of it, but there’s this whole range of other creative things that are related to that show. And showrunners are driving the creative forces behind all of that, Webisodes and "mobisodes" and other online endeavors and games, all these other things. And what seemed to be coming to a head was the idea that the showrunners are kind of spinning out all of that stuff, but they don’t have true jurisdiction over it and they’re not getting paid for it.
RDM: Yeah, and I think we were in a unique position to see the fundamental unfairness of what was being done and what was being proposed by the studios and the networks. We were very informed on all the issues and how they would play out in different revenue streams.
MR: I got the sense from the get-go that the producers didn’t take the union seriously at all, that their sense was, “We’ll crush them like insects, just like we always do.”
RDM: Absolutely. I think they really misplayed their hand on the other side. I know there was speculation that, ‘Oh, [the producers] are hoping for a strike.’ I don’t think they were. I think they were counting on there not being a strike. And I think they overplayed their hand really early on. The day we had the second showrunners meeting over the summer, we’re all in the room, and that very day the AMPTP came out with their proposal to revamp residuals.
MR: Revamping them in terms of getting rid of them.
RDM: Yeah! And the anger in that room, the sheer hostility, was palpable. And it galvanized certainly the showrunners, it galvanized all of us in terms of, the cynicism of that move. It was clearly a cynical move meant to intimidate and scare and put it in our faces, ‘Oh if you’re not careful, we’re going to do stuff like this to you.’ That ticked people off.
It also said they weren’t even remotely bargaining in good faith, and they were so many steps away from presenting a plausible opening gambit that everybody in the room was saying, ‘This is heading for a strike.’ They just really mishandled it. If they had not come out with that move, particularly on that day, it might have played itself out a little differently. As it was, it just really united the feeling [of the membership].
MR: It just really shocked me, it seemed like they were going out of their way to disrespect the writers – who are creating the content that make these companies so much money. It was like saying to a partner at a law firm, “You’re just lucky we let you work here – we’ll crush you and you’ll like it!”
RDM: There’s so much posturing and so much intimidation [in these kinds of negotiations]. They want the structure a certain way so they don’t have to listen to you, so you have to take their notes, so that you feel like they have certain power. But the showrunners -- we’re close enough to the finances of all this – we do understand the complete Potemkin village [i.e., sham] finances and accounting at the studios and the networks. And how they’ve built these gigantic complicated accounting systems to continually hide profit and never have profit and move revenue from here to there.
It’s like the IRS, the tax code is so Byzantine that there are probably only a handful of people that really understand it. There’s probably only a handful of people at any studio who understand how the finances really work.
To a certain extent they’re prisoners of their own system. So I have sympathy for them in that regard, because they are locked into a certain way of doing business and accounting for profit and expenditures and revenue streams and auxiliary markets and all this stuff, and it’s so complicated. So when we step up and say, ‘Hey, we need to be compensated for this part of this revenue stream,’ it throws a monkey wrench into everything they’ve built and they get freaked out and frightened, about ‘How can we make money – as we define making money?’
You’re through the looking glass on some level, because everything makes a profit, in truth. They all make money on everything. ‘Waterworld’ turned a profit. But they won’t show that on the books.
MR: Yeah, according to Hollywood accounting, nothing has made a profit, ever.
RDM: Right, but clearly they do. They sell these things over and over again. People are still watching ‘The Wizard of Oz.’ These things are sold perpetually.
MR: And chances are the screenwriter will see none of it.
RDM: Yeah, because that’s the way they’ve built this particular system.
MR: It was interesting to read the take of Silicon Valley people during the strike. They were like, “Writers make content. People want content. Why are the studios making this so hard? Why can’t people who make content have some creative control and ownership?”
RDM: Yeah, and that’s where it’s all going to move to eventually. Everyone will start giving up on the [old model]. The Guild unfortunately gave up copyright [for writers of film and TV] a long time ago. By giving up the copyright, they gave up everything. That’s probably the biggest mistake that’s ever been made in labor in Hollywood. If you think about the position of a playwright or author and what they’re going to get in perpetuity versus what TV and film writers will get, it’s a completely different world.
And the studios cry, “If we didn’t have copyright, we couldn’t do business!” Well, that’s a load of [expletive]. They would just build it into their business model and they’d just restructure their Byzantine ways around it. At this point, it’s almost impossible, I don’t think they could do that if they wanted to. It would upend so much. They’d have to rebuild their business from the ground up.
And that’s why people like me will eventually say, “You know what, I don’t want to do work where I don’t own the copyright. I don’t want to do work where I don’t have ownership. I’m going to move over to someone who will give me that.”
MR: How realistic is it that you could make a show as good as “Battlestar” in that sort of alternate realm?
RDM: I think it’s going to happen, I think it’s just a question of when and how do you do it. Right now it’s the Wild West era, and it’s all about risk. Do you stake your claim over there, and see if there is gold in them thar hills, or do you stake it over there. There will be a lot of people who blow it and some who will strike it rich. There’s really no way to know. But I feel pretty certain it will happen. I really don’t know how fast it will happen and under what auspices.
MR: It is a really interesting era, I don’t know if anyone has yet struck that balance among all those things – retaining ownership, paying the creative staff, getting it to the people, all that. But someone will, if they haven’t already.
RDM: It will be content-driven. Content drives everything. Videogames take off because you’ve got Halo. TV takes off because you’ve got “ER.” Movies take off because you’ve got “Lord of the Rings,” not because you’ve got a great projection system or a great new application for your desktop or some new cable system. It’s because you’re offering something that people want to watch over there, and suddenly over there becomes a very popular place to be.
MR: I wanted to ask you about the fan interaction and the fan Web sites and all that sort of stuff that happened during the strike. Were you surprised at how all that played out, how active fans were on behalf of writers?
RDM: I was surprised and I was touched by it. It was genuinely grassroots and the fans themselves rallying to the cause and trying to come and help – coming to the picket lines at ungodly hours of the morning, showing up in the rain, bringing us doughnuts, printing up T-shirts. They did a lot of amazing things that were just genuine and moving.
When you’re working in science fiction, you’re used to fans being interested in the writers and knowing who the writers are. That’s the way this genre works. There’s conventions and fan clubs and there’s always been a connection between writers and fans. And that bled over into the strike. It was great to see.
MR: Was it cool to hang out with other showrunners? Did you know a lot of them before the strike?
RDM: No, very little. Suddenly I had opportunities to meet a lot of them and talk to them and develop friendships. It was really interesting. I certainly got to see a lot more of my peers in those three months than I did in the previous 10 years.
MR: And then you realized they all watch your show.
RDM: Yeah. [laughs] It was always surprising. I was always startled when people came up and said how much they liked the show.
MR: It is sort of like, you’re in this cloister of the production and then it’s so different to be out in the world of people who actually watch the show?
RDM: It’s always kind of been that way. In television there’s this weird sense of isolation from your audience, you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It’s our little show and then it goes out into the world and somebody watches it. You don’t get the sense of going into the back of a theater and watching it with a crowd, being there and feeling the interaction.
Suddenly, with something like the strike, you’re out there with your peers and the public. And I realized a good chunk of the business watches the show. I hadn’t really realized that.
Section 3: Non-spoilery Battlestar questions and info on Moore’s other projects.
MR: Will you do more writers’ roundtables and podcasting?
RDM: I have to get my podcasting in order, I haven’t done any yet. I’ve banked a couple of podcasts that won’t be on for quite a while. We went to Vegas with the writing staff and had a big daylong conference where we discussed the whole last season, and I recorded that. Midway through the summer, we went on a writers retreat to Lake Tahoe for three days and structured and broke the last few episodes and I recorded that. They probably won’t be able to [release those podcasts] until the show’s over, because they have all the stuff, what the ending is. It’ll be dessert after the show’s over.
MR: Do you have any sense of when the final 10 episodes will air?
RDM: They haven’t made a decision yet. The earliest would be in the fall, it’ll take us that long just to shoot and [do post-production on] the episodes. I think the betting is probably not until '09 but they haven’t pulled the trigger one way or another.
MR: Do you have a preference on when they air?
RDM: I don’t really have a preference. I think people would like it [to finish up] this year, because you’re more connected to it. But I don’t mind stretching it into next year. I don’t know that it makes a huge amount of difference to the audience one way or the other. I think that ultimately it’s all about the DVD boxed set and when the entire series is put together on the Internet, that’s how it will live in perpetuity.
For those keeping score at home, here’s the status of Moore’s other projects:
* “Caprica,” a “Battlestar” prequel, got the greenlight from Sci Fi a couple of weeks ago. It’s a 2-hour film that could serve as the pilot for a new series. Moore co-wrote the piece with “24’s” Remi Aubuchon. There's more on "Caprica" here, and the intrepid TV bloggers from E!Online have even more on the show.
* Moore and “Battlestar Galactica” co-executive producer Jane Espenson were working on “Warehouse 13,” a Sci Fi project in development, but both have left that series.
* He has a sci-fi pilot in development at Fox. It’s called “Virtuality” and he’s writing it with “Battlestar” co-executive producer Michael Taylor.
* Moore has a pilot in development at NBC called “Restoration.”
* “The Thing” and “I, Robot 2” are feature films that he’s been involved in.
Section 4: Somewhat spoilery Battlestar conversation.
MR: Having seen that first episode of the season, I was thinking about something you said to EW. You said something like, “The plot about Baltar is not really about him being a savior.” What kind of grew in my mind was this idea: When somebody really is a prophet or a seer or a visionary – and that’s what Kara appears to be now – a lot of the time, nobody wants to know that person. They’re shunned, rejected, ignored.
RDM: Yeah. People who have a genuine knowledge or foreknowledge or greater awareness – they generally don’t have a good life. And then people who claim to know, who say they know – they get treated differently.
MR: And they get a harem, possibly.
RDM: Probably [laughs].
MR: But there’s a genuine moment in the Baltar sequence where he really knows how awful he is, and wonders if somehow, he could save someone else, if something greater really could work through him. And he wants that.
RDM: I think that is accurate. He didn’t seek this place he goes. But then he’s there and he tries on some genuine level to communicate something honestly. He does have a voice in his head, telling him things, in a literal sense. And that’s a message from somewhere. I think he does start to believe and try to believe and try to be genuine with his flock, as best he can.
MR: Hasn’t that always been an ultimate goal for him, to have a worshipful cult around him?
RDM: Yeah, but at the same time, it makes him a little uncomfortable.
MR: Is he a guy who cares whether there’s one god or a lot of gods, or is he more like, “Well, I’ll go this way,” whatever way the wind blows?
RDM: I think there’s an element of that. But on a deeper level, he’s a scientist and he wants to know what the truth is, especially after his experiences – what is it all about? What is behind all this? Is there a God? Are there many gods? Is it all just a crazy delusion? I think he would like to get to a fact somewhere along the line.
MR: The show has always asked these questions about “which way should we go,” in a philosophical sense, in a political sense, in a religious sense – but now there’s also a very literal question of which way to go. Should they go with what Kara believes about where the fleet should be heading? There are always these hardcore choices on the show – will you be the kind of society that throws people out airlocks and puts them in detention camps, or will you be ruled by law? Will they go with her intuitive feeling about the right direction toward Earth, or will there be a pragmatic group decision?
RDM: Yeah. What are the choices that you make and how do you make them? And what does that say about you? And is there one answer to any of that? Should you do it in the moment, use the tools at hand, should you make the decision based on faith, based on science, based on your head? And why that choice in that instance? What drew you one way or the other?
At the end of the day, what does it say about you because of all those choices that you’ve made and the way that you’ve chosen them. In a larger sense, what does it say about your society that you as a group and as a people have taken these paths. At the end, you look back at the paths that you’ve trod and, you know, did you lay waste to villages along the way? Did you destroy the world? Did you make a clean break with things? Did you leave certain areas better than you found them? You have to assess all those things. Ultimately it’s all very complicated. It’s not easy to come up with a simple philosophy that can guide you at every moment along the way.
MR: It’s attractive to think that there can be one set or rules that can always be relied upon to get you to the right answers. But I think that’s what your show really delves into – there isn’t always necessarily a “right” answer. Does Adama follow Kara because she has a gut instinct? Does he put 40,000 people’s lives at risk because of this feeling she has?
RDM: Right. And yet he’s done that based on Laura Roslin’s gut feelings. It’s very tricky stuff. We wanted it to be difficult and complicated for these people. The choices just get harder.
MR: Is Kara a pariah because of that, for reminding everyone that she had a different idea?
RDM: Yeah.
MR: In Season 3, we found out who four of the final five Cylons are, and that got me thinking – what is it about being a Cylon or just the Cylons’ very existence that freaks these people out so much? The idea that the Cylons don’t have a soul? The idea that Cylons are the Other? Is it Cylons worshipping only one God? What’s that kneejerk hatred about?
RDM: I think there’s an unwillingness and a terror around the idea of considering them as people. Their history is that these were machines. We literally created these things. These are toasters, as they keep saying. These are devices, things we made that got out of hand and are now threatening us.
We justify a lot of our behavior and attitude toward them by saying, these are not people. These are machines, they do not have souls. They look like people, they talk like people, they smell like people, they feel like people. But you have to try to ignore that and remember that these are constructs, they’re different than we are. We are special, we have some spark of life that they do not have.
The moment we start accepting them, then we have to reevaluate a tremendous amount of fundamental things, around their creation, around the way they were treated initially, around the way we’re treating them now. It’s too difficult to wrench themselves into that different perspective.
Nonetheless, they continually find themselves crossing that boundary. They fall in love with them, they treat them as – there’s Adama’s relationship with Athena. He gave her the uniform. He has accepted her as a person. But he can’t quite make that leap to the rest of them.
Kara started feeling guilt and difficulty when she was torturing Leoben in Season 1. She’s swearing he’s a machine, but there’s this thing that’s screaming and crying and bleeding and she can’t quite distance herself. It’s about blurring all those lines, and they can’t quite move themselves as a people to accept the Cylons as a legitimate race.
MR: Right, it’s like the fear doesn’t stem from, “They’re not human.” It stems from, “What if they are human?”
RDM: Yeah.
MR: It’s like, “What if they’re like us and we’ve been doing all these terrible things this whole time?”
RDM: Yeah. And if we could have created them so easily, on some level, what does that say about how special we are? Maybe we’re not that special either. Maybe we’re not touched by God either. Maybe we’re some sort of fairly easy biological accident that happened. And that threatens your own identity.
MR: In a way, the humans want to view themselves as gods because they created the Cylons. “We have to be lord and master of you – you can’t be like us.”
RDM: Yeah, exactly.
MR: Among the people in the fleet, there have been huge fights and disagreements along the way, but it seems like, now that it’s getting down to the nitty-gritty, and they’re on the final leg of the journey – it’s not us against them, it’s us against us.
RDM: Yes, there are some relationships that will be torn asunder and will not be put back together. There will be some things that will be fundamentally broken over the course of the season. We’re going to lose certain characters, some things are not going to be repaired. There’s a sense of finality about it.
Section 5: Medium-to-heavy duty spoilery stuff.
MR: Laura Roslin seemed so decisive in that first episode back. Just comparing her to Season 1 Roslin, she’s so resolute. Is that how she’s going to be this season?
RDM: That’s certainly where she starts. That will come to a screeching halt.
MR: Is Romo Lampkin coming back?
RDM: He is coming back. There’s one in this bunch of 10 and we’re talking about another one in the second group of 10. It’s not firm yet, but there will probably be a second [episode with Romo before the show ends].
MR: Is it a matter of needing him for the story or just really enjoying the character and the fact that the fans like Romo?
RDM: It’s from Mark Sheppard’s bribery, cajoling, extortion [laughs]. No, we just liked the character and he played it really well, so we were always saying, “Where can we use Romo again?”
MR: You have to know that the EW “Last Supper” photo of the Season 4 cast has been analyzed to death.
RDM: I know. As soon as they said that’s what they wanted to do, I said, “Oh, that’s genius.” I was on the phone, “Let’s put him here, her here,” I spun out all these things. It was a lot of fun.
MR: That was one question I had – you were the maestro orchestrating where people were and what they were doing, right? Everything in the photo is intentional, right?
RDM: Mostly. I wasn’t on the set. They pitched me the idea on the phone, and asked if I had any ideas of what to do. I said, OK, yeah, let’s do this. I spun out the basic format and I think they embroidered a little on that when they were on the set.
MR: Are there significant new characters this season?
RDM: Nothing that comes to mind. [Mo here: Hmmm. But according to the EW “Last Supper” photo, there’s a new No. 6 model called Natalie. She assumes a leadership role for a group of Cylons with “a separate agenda,” Moore told the magazine.]
MR: Just so I understand what I think you told EW for the story that went with the photo, none of the people in that photo is the final Cylon, right?
RDM: Yeah. I said that. I probably shouldn’t have said that [laughs] but I have said that. So, yeah [that is the case, the final Cylon is not any of the people in the photo].
