Ron Moore Blog/January 27, 2005

==Transcript==
One of the strange things about writing and producing television is the delay between action and reaction. Tomorrow night's episode was written almost a year ago. The battles, thoughts, emotions, disappointments, and victories happened in what seems like the distant past, so when I sit down to watch the show along with the rest of you (and I do watch them on the air) it's like seeing a page out of an old year book. I can remember bits and pieces of the production process, the early drafts of the script, the days spent in the editing bay playing with the footage and waiting for the visual effects to be completed, but none of it is current, all of it belongs to a season now firmly planted in the past.
However, I do find that the same distance from the rigors of production also afford a better vantage point for watching the show with something approaching objectivity. You get so used to an episode during all the aspects of production that the simple pleasure of watching it as a piece of entertainment is slowly vacuumed away over time. Only now, months after the fact, can I watch these shows from a little remove and my impressions of the episodes are often not the same as when we produced them.
For instance, during the shoot of "Water" and shortly afterward, I was acutely aware of just how long the script was and how much material was going to have to be lost along the way. I was fairly upset with myself for writing something so bloated and large that it was killing us on the stage and would later require major surgery in the editing room to make our mandated runtime. The first cut of "Water" ran 10-12 minutes long -- essentially an entire act that had to go -- and for a long time when I watched the final locked picture I was always uncomfortably aware of the "cheats" involved. That is, the dropped scenes, the internal cuts made to scenes that made a hash of some of the logic I'd tried to lay out, the half-expressed thoughts, the missing emotional beats, etc.
However, when I saw the final aired episode, I was hard-pressed to even remember most of the cuts or why they had bothered me in the first place. (Although I still missed a nice bit with Baltar in the Wardroom, where he tossed off a theory of how six small charges could've blown open the water tank, as it was both helpful to the plot and an entertaining bit of grandstanding by the character.) Frankly, I used to think of "Water" as one of the weaker shows in the first season, but now it seems like a fairly coherent piece.
Of course, this kind of shift in perspective after shedding the baggage of production works both ways, and I've found that sometimes revisited shows much later that I'd always considered to be "classics" turned out to lose their charm along with the experience of making it. So as we go forward, I'm both excited and vaguely terrified at how I'll view the rest of the season.
Speaking of excited and terrified, I must admit to being overwhelmed by the response you've generated regarding this blog. There's a remarkable backlog of questions on the board and I'll try to both post here more often and answer more of your questions. I don't know what to tell you in terms of what will catch my eye, but I'll try to look for both the straight-ahead fan questions and the more off the wall questions -- don't be afraid to venture far off-topic, some of the more interesting discussions I had at Trek had nothing to do with the show itself.
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