June 1, 2025 • 61 mins
This week’s rewatch brings high stakes, heavy tension, and some very cranky Klingons. We're talking 'Sleeping Dogs.' *And don't forget - we'll be taking a short hiatus. But fear not! We won't be gone long. Until our return, Nanu Nanu, friends.
Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
Let's get social! -
📘 Facebook: The D-Con Chamber
📸 Instagram: @thedconchamber
🐦 Twitter: @thedconchamber
🌐 Website: https://thedconchamber.com
🌳 Linktree: https://linktr.ee/thedconchamber
Want more? Find us on Patreon for extended episodes + fun bonus content! https://patreon.com/thedconchamber?ut...
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-d-con-chamber--6181422/support.
Each week, we explore and celebrate the lives that the Star Trek universe has forever changed. From former and future cast and crew members to celebrities, scientists, and astronauts whose personal and professional journeys have been affected by the franchise, we sit down and dive deep with a new friend, laughing and learning from their stories. Sit back, grab a drink, and join our hosts, Dominic Keating and Connor Trinneer, as we get geeky in The D-Con Chamber.
Let's get social! -
📘 Facebook: The D-Con Chamber
📸 Instagram: @thedconchamber
🐦 Twitter: @thedconchamber
🌐 Website: https://thedconchamber.com
🌳 Linktree: https://linktr.ee/thedconchamber
Want more? Find us on Patreon for extended episodes + fun bonus content! https://patreon.com/thedconchamber?ut...
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-d-con-chamber--6181422/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The show has begun with card.
Speaker 2 (00:05):
It's the.
Speaker 1 (00:07):
Con Ladies and gentlemen, boys and girls, trekkies and trekkers.
Welcome back to another episode of the dcon Chamber. As always,
I am joined by my bestie who's about to be married.
Thank dun DeVos again John dominic keating Ladies and gentlemen.
Speaker 2 (00:28):
Yes, I'm sorry, ladies the market.
Speaker 1 (00:35):
We are doing an episode of the show, Episode fourteen
Sleeping Dogs, written by Fred Decker, who was also a
supervising producer that season, and directed by Les Landau. And
Les Landau comes from not like Martin Landau, but Les Landau.
(00:56):
His father was a big deal, and so is his brother.
Speaker 2 (00:59):
Any I tried to see if he was Martin's relationship too,
and the name that shall not be mentioned because she'll
pipe up said no not so which what Landaus were they? Uh?
Speaker 1 (01:16):
I believe that his father he was a producer, uh
and in television I think in early television. And then
his brother was a producer and one an Academy Award
for Titanic.
Speaker 2 (01:31):
Oh wow, okay, and.
Speaker 1 (01:34):
This was apparently this was the last professional job. Lets
did this seconding? Wow?
Speaker 2 (01:41):
Well I should have watne I made his last week
in show is a living hell.
Speaker 1 (01:52):
Well, so we are talking about sleeping dogs and you are.
You and Linda and Jolene are featured heavily in it.
You're also heavily in the ev suit. Yes, very much so.
Speaker 2 (02:09):
Actually, I don't know if you noticed, but about by
about the third scene where it's off and we're in,
we're in the undersuit really unattractive, dark gray, not a
very no, I mean, you know, not great. I mean, yeah,
Joe looks good in anything, but you know, yeah, I
know we were struggling a bit and that those sets
(02:33):
were great though, weren't they. I mean they got amazing
and you know, always just thumbs up to the to
the construction department and the set design and Jimmy, Jimmy,
Jimmy put it all together. I mean, and Dorothy who
did all the food. I mean that that skling on kitchen,
(02:55):
Oh my god. I mean it's like going up to
know French table mate.
Speaker 1 (03:00):
When they're alive.
Speaker 2 (03:01):
Yes, they got they got live targs up at the
French table. And I like the start of the show
too with me because what I liked about this episode
is that it is in house. I mean, there are
there's the guest star kling On girl who I think
is is that Gabrielle Union. I think maybe her name.
Speaker 1 (03:23):
Gabrielle Union.
Speaker 2 (03:25):
Now why did I write that name down? It might
be Michelle B. Bonita. I think that might be her name.
Speaker 1 (03:31):
Gabrielle Union is married to Dwayne Wade.
Speaker 2 (03:34):
Dwayne who's that then.
Speaker 1 (03:36):
Basketball retired Hall of Fame basketball player.
Speaker 2 (03:40):
Well, at any rate, anyway, I like that only scene
between me and what I liked about this episode was
that it's kind of in house and it sets up
some relationship dynamics between the series regular characters, not least
how she decides that she's got her face legs yeah,
(04:02):
and wants to go on this away mission when we
find this gas giant with the with the uh wayward,
what's the weather I'm looking for? Just reading a book
about Columbus, I should have some sea shanty and distressed
cling on distressed, yeah, cling on ship that's you know,
(04:24):
just falling down into this gas giants, you know, mouth
of pressure, and and we got on board.
Speaker 1 (04:34):
Was it called a Class nine Class nine? Yeah?
Speaker 2 (04:38):
But I like the fact that it sets up these
dynamics between us, and it starts with Malcolm teaching how
she how to use this new face pistol in the armory,
putting her through her paces with it's a nice scene.
You're very kind, yeah, and quite good. Good golf tutor,
(05:02):
you know, and her swing's not bad. And then and
then the fact that she volunteers to go on this
mission is a is a nice setup. And I always
laugh when when anyone in us in a team, particularly
TV shows, they let out a little and three scenes
(05:27):
later they're dead. And so Malcolm starts coughing at the
end of that scene, and they.
Speaker 1 (05:35):
Had the worst of all time.
Speaker 2 (05:37):
The next time I decided to play it, I did
decide to play man flu.
Speaker 1 (05:42):
Yeah, right, very good.
Speaker 2 (05:43):
I thought it was, you know, get some comedy out it.
Speaker 1 (05:46):
Very good.
Speaker 2 (05:47):
I have to say I'm not I am manflu man.
I don't do well with any kind of flu or cold.
Speaker 1 (05:55):
I don't feel my head.
Speaker 2 (05:59):
Here. I don't understand. And I like that scene between
me and John. It's rather nice.
Speaker 1 (06:07):
Yeah, he's him holding a napkin at the end.
Speaker 2 (06:09):
And some good buttons. I noticed that they were all
the way through the episode. We had learned how to
button scenes really well by now and h and we
got very good at it. I have to say.
Speaker 1 (06:22):
And I also say that I think it was important
for Ho She's character to do this and not be
afraid anymore. It was sort of her watershed moment to determine,
you know, if she was going to be like a
real functioning member of the group. And I appreciated that.
I didn't you know. I think at this point the
(06:45):
only one that we have yet to see have that
is Mayweather is Travis.
Speaker 2 (06:52):
Yeah right, yeah, he I mean it comes, doesn't it? Does?
Speaker 1 (06:56):
You know?
Speaker 2 (06:56):
He's coming soon? And fortunate is it for fortunate son yet?
And then of course the relationship between to Paul and
how she's nicely developed, and particularly in that rather moving
sort of intimate scene where she takes her through that
(07:17):
meditative process and imagines her on the rolling seas and
you can calm and call.
Speaker 1 (07:23):
Them and I'll teach you how to do it when
we get back.
Speaker 2 (07:25):
Yeah, that was an ongoing Do you remember that ongoing
expression on our set I'll see you in court?
Speaker 1 (07:32):
Yeah, exactly, I know.
Speaker 2 (07:34):
Those are the days. I mean, I mean, it's not
even funny now, no, you.
Speaker 1 (07:40):
Know, And I don't know if this is going to
sound un PC or not PC, but look, you know,
there has to be some kind of sort of fun
rapport between the sexes when you're working together.
Speaker 2 (07:56):
All right, Yeah, I mean, I know, I know, I
look at I think anyone at at the age of
thirty five and under is going to be rolling their
eyes at that now.
Speaker 1 (08:05):
But I will say this, but I will add to this,
add to it this. It always comes out of a
respect for the person that you work with and that
you're spending time with.
Speaker 2 (08:16):
Yes, I mean, if you're the if you're come, if
you've got a good heart and come from the right place.
Speaker 1 (08:21):
The fact is that, you know, I mean, a lot.
Speaker 2 (08:24):
Of our humor from particularly my boomersh G. You're you're
not quite boomer, are you? Just on the gen X
gen X? So you know, we grew up with a
with a with a humor and jokes that now are
definitely you know, you know, denied unacceptable, and yeah, took
(08:46):
me some education to sort of go, you know, yeah,
that's not funny anymore, dom and used to stop thinking
and saying that. And so I have for the most part.
Speaker 1 (08:58):
I mean, I think I think that you know, we
have we have gone to a place where we operate
socially and politically with a pendulum that is a bowling
ball that gets slammed against the wall in one direction
and slammed against the wall in the other direction. And
I don't think that we have at this point found
a stasis or a static point for where that's supposed
(09:19):
to live.
Speaker 2 (09:20):
No, I think you're right. I mean, I think, uh,
this new pendulum swing is it's quite it's certainly new
to my you know, age old generation, and it's it's
certainly gone way over here at the moment. It'll it'll,
it'll come back. And but it's good that it's gone.
(09:41):
It's good that it's gone. You know, you hear people
like Bill Maher complaining bitterly that, you know what, what
can I make jokes about now? Then mime and juggling
artists who dropped the you know, that's on what am
I left with?
Speaker 3 (09:54):
And and that's unfortunate, because you know, this is the
role of the comic, This is the role of the storyteller,
role of of.
Speaker 1 (10:05):
Anything that we do in communicating with each other that
is not a conversation. The way that we express how
we feel about things is somewhat and has been previously
for the last several years under assault. Yeah, that does
to take away the fact that there are you know,
dirt bags and people who take advantage of their situation.
(10:29):
But there's also we we lost a bit of the fun.
Speaker 2 (10:36):
Yeah, I mean the fun of making fun of one another. Yeah,
you know, I'm you know, we'll see, because you've got
to take it, you know, with a pinch of salt
and a and a wry smile. And we did anyway.
I think I'll cost hit a good time with that
(10:56):
with everyone between all the departments, and and we did,
you know, take the proverbial piss sound at each other,
but in a in a in a not in a
nasty way.
Speaker 1 (11:09):
And I think it was as a result of us
inherently trusting one another. Yes, you know, the respect that
one would have for another person.
Speaker 2 (11:16):
Yeah, you're right. And again we've always come back to
having Scott Bacula at the top of the food chain,
who is the most respectful and kind person you're likely
to meet the film set anywhere anytime. He was great
in this episode. He he just thinks it really well,
doesn't he. He's got all the you know, the slight
(11:37):
sort of I love all his you know, boyish wonder
you know, a gas giant and you know, what's what's
one day bringing and and then suddenly we're mets with
Frankly a rescue mission because you know, she the one
girl I meet mal jumps him. I mean, I love that.
(12:01):
I'm quite nimble around with the with all my action
stuff and the way I'm doing all the guns, the
pistol stuff, and I'm looking everywhere but up, and then
she comes plowing down on me. She was a big
girl too, I mean, you know, I mean strong and yeah,
(12:21):
shelves me.
Speaker 1 (12:23):
Yeah, I love I love how you you You would
always enter a room with it like.
Speaker 2 (12:28):
Down here, yeah, down there heah, yeah, absolutely, yeah, I'm
slightly on my toes. Yeah, moving like an alley cat.
I enjoyed that stuff, I really did. I liked being
the action man. And so anyway, she then nicksed the
shuttle pod. You know, what the hell? Yeah, there's us
(12:51):
desperately trying to read, cling on and figure out how
to function this ship. Apparently no big deal for a
clean getting in our.
Speaker 1 (13:00):
Shuttle pod.
Speaker 2 (13:04):
Too.
Speaker 1 (13:04):
Exactly.
Speaker 2 (13:07):
She's off. The grappler comes in, which I love, and
they shoot after him.
Speaker 1 (13:14):
You know, I had forgotten, or I never really realized
that when did we ever get a tractor beam? Did we?
Because we have to?
Speaker 2 (13:25):
I don't think so. No, we we were always we
always grappled.
Speaker 1 (13:28):
Because you could always just use a tractor beam and
suck that thing out, and we had bulkan.
Speaker 2 (13:33):
No, we didn't have that technology. We were still yeah,
we were pre tractor beam, so we were still sending
out fishing hooks really but effective, you know, I mean
we got that. I like the scene in Sick Bay
with her, and I mean I I like the expose
(13:57):
as it were, of the Klingon culture. And I was
slightly sort of scratching my head at the fact that
we Scott was reading nine hundred pages about the Klingons
on the Vulcan database. We we you know, we've had
a couple of run ins with them by now. We
took what was the big lad Tiny back to his homeland.
Speaker 1 (14:21):
I figured, I think this is at least our third
encounter with them.
Speaker 2 (14:24):
So but he's sort of talking about them like we
barely know anything about them. I did find that slightly strange,
and that no way.
Speaker 1 (14:31):
It was almost like a Klingon one on one It's like, here,
this is how this works, this is how they feel,
this is the Yeah.
Speaker 2 (14:38):
I thought that was a bit odd that no one
sort of went, we kind of know about these people,
don't we?
Speaker 1 (14:43):
And I loved once again Von Armstrong, the man of
a thousand track faces. He's the one is he playing
the Klingon too, He's the one who's dying in the years,
isn't he?
Speaker 2 (14:55):
He is? Is because he's he's Admiral Forrest. Is Admiral
Forrest in this episode two A bit, No, it's not.
So he's just doing the klingon, the dying Klingon, and
he does it very well.
Speaker 1 (15:08):
Yeah.
Speaker 2 (15:09):
God, bless the fact that they I mean they were.
They were good to him, they really were.
Speaker 1 (15:14):
The fact that he played the most characters in Star
Trek I something like fifteen or seventeen over the.
Speaker 2 (15:22):
Course, and to the uninitiated eyes, it were you wouldn't
know that that was him. No, you wouldn't, because his
voice was quite disguised and did a good job. Yeah. Yeah, Well,
so she's in sick May. She's got this toxin neurotoxin
(15:43):
from getting pissed up on sarantine nail. I love all
that sort of klingon language. We all joined in the
spoils or you know, it's all sort of you know,
you know, sixteenth century sea shanty language about taking the booty. Yeah,
(16:05):
I love all that.
Speaker 1 (16:06):
What's your take on you know?
Speaker 2 (16:09):
So for.
Speaker 1 (16:11):
Thirty five fifty years almost Klingons looked a particular way,
and then you get to Discovery and they don't look
like that anymore.
Speaker 2 (16:26):
No, I think it ticked off a lot of fans,
I believe, if I if I'm not mistaken that. I
guess each creative team wants to put their you know,
stamp on it somehow, and they they they feel that
they you know, it can be revamped. I mean, they
(16:48):
were revamped from the original the original series. They kind
of look like fu Manchew, don't they. I mean, you know, right,
But there's not a lot of difference between that in
terms of like, you know, the forehead on Yeah, yeah,
you know, you.
Speaker 1 (17:06):
Got you got Bob O'Reilly and J. G. Hurtzler you know,
doing thing, and.
Speaker 2 (17:11):
They looked like so, you know, seventies metal rockers and exactly. Yeah,
I mean I'm trying to think. I mean, I did
like that. I liked the look of the Klingons in Discovery.
I didn't, you know, I mean the fact that it
was different.
Speaker 1 (17:27):
I'll tell you what they looked. They looked they looked dangerous, Yes,
they did. There was something about the Klingons that we
had that there was a little bit something clownish about them.
Speaker 2 (17:36):
I was going to say comedic, Yeah, slightly. Yeah, And
there you go. And that is that's the how would
you describe it? The the march of creativity moving.
Speaker 1 (17:51):
On and the evolution of it.
Speaker 2 (17:53):
The evolution of it, I mean on our show definitely
had a very distinct and different model and feel. Albeit
it was a retro modern feel to Voyager, but it
was different.
Speaker 1 (18:06):
And I'll also say that, you know, the Andrians, for instance,
on our show, to me felt dangerous.
Speaker 2 (18:13):
Yeah.
Speaker 1 (18:13):
And anytime I'd seen them previous to that, there was
some right comedian element to them. Yeah, and they took
that part away.
Speaker 2 (18:25):
Yeah. And that was helped too by Jeff's performance, who
you know, brought the real menace with his performance. Yeah.
But as you say, I mean, you know, her lying
on that gurney bed in Sit Bay, spitting and frothy,
and any attempt to be helped was just seen as
(18:48):
a deep insult. It was rather amusing, and the Captain's
increasing impatience and irritation with you know, you know, we're
trying to feed you, please.
Speaker 1 (19:00):
Take the bread, right.
Speaker 2 (19:04):
I quite liked his growing irritation all the way up
to the end. He does it very well, Scott, Yes,
without losing it.
Speaker 1 (19:12):
You can just see the skin. You know, purpose is
purpling one vein pulsing. And also you know, again this
is one of those episodes where I found like and
Trips not in it very much. Is in it more
than I thought.
Speaker 2 (19:32):
But I liked your little scene with Scott when he's
is he going to go aboard and You're like, you know,
give him hell?
Speaker 1 (19:44):
But you know, and I know that it changed, but
you know, we're still in a moment where and this
is I'm sure me trying to figure out the totality
and the dimensions of trip that you know, I just
find him. There's a couple of moments that it's it's
(20:05):
snarky inappropriate to the level of what we're talking about, right,
And do you.
Speaker 2 (20:13):
Think that came out of the script and you were
forced to play it that way?
Speaker 1 (20:17):
No, I think that came out of not having any information.
And and this is still we're coming to the end
of the first half of our first season, and and
that I think there were elements to Trip that were
(20:38):
one dimensional, and that being unless he was involved in
something dangerous, he was kind of like, you know.
Speaker 2 (20:51):
Uh, uh, you know, I'll be eating my peak CAMPI.
Speaker 1 (20:54):
Yeah, like you know, like like a wink and a
nudge of like it's gonna be fine, which I which
bothers me because I don't think that serves an episode
of of of what you guys were going through.
Speaker 2 (21:06):
Yeah, I know what you're going to say, and it's like, well,
where where you know? Where where are you as the
team as a team? You know where? You know? You
you just that we have twenty minutes to live and
you and.
Speaker 1 (21:15):
Trip's going to assume going on and engineering here. Everything's
going to be just fine. Yeah, you know, and and
uh that that did change. But you know, and in
some of these episodes, these early episodes, I find myself
cringing a little bit about my reactions.
Speaker 2 (21:32):
Right, not all of them.
Speaker 1 (21:34):
But but like you know, well, for instance, that scene
in Flox's office where you know, we're trying to get
information from her, and I forget what the captain says,
but I kind of go like as we walk out
(21:55):
to me, that's inappropriate to me. That's that's not furthering
the story. It's it's it was just something that I
had to figure out.
Speaker 2 (22:03):
Yeah, and here's the thing about the you know, working
in TV, the director, god bless him, Les, who was great,
isn't gonna come up to you and say, you know,
this isn't serving you well right, they're not even seeing it,
if you know what I mean. I agreed, agreed, you know,
as long as it was in focus and everyone was
(22:24):
on their marks, and everyone got their lines right. And
Jan comes over and gives it the tick off she
was the script supervisor and says, yeah, they got all
their lines right. Moving on.
Speaker 1 (22:34):
Look, the truth of the matter is, and you know this,
that the series regulars on a show when you've got
these hired gun directors come in and they're really just
Unless they were former structric actors, right t Bar, Robbie,
Roxanne dor and any one of those, they would have
(22:58):
known the tone and the reality of any given moment.
But otherwise, you know this, in in doing a show
as a regular, they're gonna come in and go, yeah,
as you said, lines were right, Lighting's okay, everything's great.
The guest star is the one who winds up getting notes. Yeah, yeah,
and almost.
Speaker 2 (23:17):
It's not that they're frightened of the series regular They
kind of assume that we know what we're doing on
the day and that that's what your character would would do. Mm. Yeah,
and they're not they're not gonna they're not gonna pull
you up on it. And Jim Conway, I noted, did
(23:38):
pull me up a couple of times and say, look,
you know you could do that better.
Speaker 1 (23:43):
Conway was setting the tone in the pilot. Yeah, you know,
and that's that's also a different dynamic, you know. But
when you're when you've got you know again in the introduction,
this is Leslands last, I believe directing jobs and you know,
you know full well the rules and regulations of of
(24:04):
what it works when you're doing series television, and you're right,
it's it's you know, you're.
Speaker 2 (24:11):
Under the TikTok top top gun all the time, you know,
and you've got to come in on budget otherwise you
never know, work never coming back, not kidding, not unless
you're someone seriously you know, connected and you know with
a name. Where are we in the story of it all?
So well, I.
Speaker 1 (24:32):
Want to ask you, is this episode but because I
will say that you most likely had the most episodes
in the EV suit. Oh yeah, was this the first
one that was you must have had three or four
days in it? Yeah?
Speaker 2 (24:50):
Probably, Yeah, they were, there were, I mean there were.
This was I don't think this was a particularly hard one.
I'll always remember if Jolene was involved, we'd break a
lot because she could do I mean, I'm not kidding
a couple of minutes, maybe three or four, and then
she'd have to take a break from the if she
(25:12):
was wearing the backpack, it was just too much for
her frame. I mean they were.
Speaker 1 (25:17):
The backpack were probably forty pounds total.
Speaker 2 (25:20):
Thirty five pounds seven. The helmet was seventeen and a
half pounds. That was the hardest time until we did
Minefield with me and Scott and he had to spend
a lot of time and you remember put his back
out and that his personal trainer, Guy Mark, came on
and there the suit got ergonomically, you know, redesigned, so
(25:42):
that we now had this belt that would you know,
much like it. Yeah, we'd keep it all go pushing
out otherwise, and they did something with the helmet so
that it wasn't just your next supporting that weighty.
Speaker 1 (25:56):
They fashioned these apple box.
Speaker 2 (26:00):
Yes so that we could just sit down with the
battery rather than having because it was a nightmare if
they wanted to, you know, if you wanted rest of
that before that, they had to take the whole down
thing off, and it was that was as much a
nightmare as anything else. I would lose five pounds in
that those suits. Every episode I did one, I mean,
and I didn't have much to lose particularly, but they
(26:23):
were Yeah, that wasn't my word. I don't seem to
remember that being the worst one. I think that one
on the Comet with with Anthony was a particularly bad one.
And there are others coming up. I mean, I've told
you and i've my heart used to just drop into
my pants when I turn the page they step out
(26:46):
in their eva. How many pages? Oh god, seven pages?
Speaker 1 (26:55):
Not me, that's up all day.
Speaker 2 (26:59):
Yeah they were. It was hardcore. But you know I
didn't have to put the makeup on like John every time.
Thank god. I couldn't have done it. I mean the
two or three times I did do it, it just
ravaged me. I mean it would have I wouldn't look
like this. Now. Let me tell.
Speaker 1 (27:22):
We all had trade offs that we had to deal with.
Speaker 2 (27:25):
So yeah, and look, I mean you had to be beautified,
and that didn't that was you know that that didn't
take a.
Speaker 1 (27:33):
I remember in particular this episode. This is the first
episode I think where I'm like, you're really blonde.
Speaker 2 (27:41):
You really were, you were a golden boy. Yeah, I
feel the song coming on. So we now got to
figure out how to function this cling on ship and
try and get it out of the It's plunging deeper
and deeper into dense atmospheric pressure of the gas giant,
(28:03):
and we are in danger of being included, and we
now have no escape shuttle and we've got twenty minutes,
half an hour, but twenty minutes. So we come up
with a bright idea. I love that moment. She goes
photon torpedoes and Malcolm's over there, like catnet photoon torpedoes,
(28:25):
what are they?
Speaker 1 (28:25):
This only a couple of those.
Speaker 2 (28:29):
So we start blowing those up two by two to
try and you know, get some lift, and it doesn't
really work.
Speaker 1 (28:39):
You get like two hundred meters or two hundred meters.
Speaker 2 (28:41):
Yeah, and then we do the whole lot and at
the risk of blowing us all up, but the captain's
on his way back by now with the said kling
on lady. And I'm trying to think when she gets
to the ship she how does she help us out
(29:03):
of it? I can't remember. Well, she.
Speaker 1 (29:09):
Is convinced because if she allows her crew to diet,
a dishonor that she would occur would be significant and
not trying would be, you know, worse than death.
Speaker 2 (29:25):
Yeah, our wonderful executive producer, mister Dave Tabb is in
the house today. God bless him.
Speaker 3 (29:32):
Thank you, Dave, Thank you very much.
Speaker 2 (29:36):
Here.
Speaker 1 (29:37):
Hey, everyone, Connor here, we just want to take a
moment to thank you so very much for tuning in
and being a part of the Decon Chamber family. Your
support keeps us going and we couldn't do this without you.
Speaker 2 (29:48):
And if you love what we do and want to
help us even more, please consider joining us on Patreon.
You'll get exclusive perks, behind the scenes content, and even
opportunities to chat with us.
Speaker 4 (30:00):
And don't forget to check out are awesome mergh because
who doesn't want to wrap their favorite podcast in style?
Speaker 1 (30:11):
Baby?
Speaker 2 (30:11):
Every little bit helps, I promise you, and we're really
very very grateful for all of you who make this
show possible. So thanks for being there and please enjoy
this episode of the Decon Chamber. I know no, so anyway,
we I guess we inoculate the rest of them because
they will come around by the end, don't they. And
(30:34):
those sets were fantastic, I mean I do remember that,
and they were extensive too, And.
Speaker 1 (30:41):
I don't know how they did it.
Speaker 2 (30:43):
I don't know how they did it. I mean they
literally used to do it. I've literally, you know, within
three or four days, they'd have I guess they were
building these things in another construction warehouse and then they'd
wheel them in. I don't quite know how I'm trying
to think to get them into stage nine. Was I
guess there was a back door because that you know,
(31:06):
those doors to that we walked in to go to
stage nine were just tiny, but I'm assuming that there
was some big giant door jaws.
Speaker 1 (31:15):
On the other side of it that we never really saw.
Speaker 2 (31:18):
Yeah, and they must have just they wheeled him in there,
and they were fantastic. Yeah. I had a lot of
fun on that episode, and there was fun working with
Joe and Linda.
Speaker 1 (31:31):
Uh was it the first time the first time that
you the three of you had really yeah.
Speaker 2 (31:36):
Really, you know, and uh, you know, Malcolm was a
bit so headless chicken at times. I didn't notice that
that he might have kept a cooler head Joline to
Paul kept the cool head all the way throughout, but
Malcolm was definitely you know, you know it's.
Speaker 1 (31:57):
Gonna go, We're gonna die.
Speaker 2 (32:00):
I know, I don't know where whether I made the
right choices in some of those, but it's also you're
presented with, well, what what you know? This is? This
is action drama? Now how are we to play this?
And I might have been a bit more Jason Stathumus,
you know what I mean?
Speaker 1 (32:16):
Well I do, But I think also it sort of
circles back to what I was saying, is that, you know,
we had so little information about our characters that we
ultimately had to were given the great fortune to let
them evolve into what they wind up becoming.
Speaker 2 (32:34):
And you're not given any time to prep the actual
episode in your head. You really aren't. I mean, you
get it, you get the night before to read it,
and then you're shooting out of sequence scenes the next day.
And unless you're completely and utterly diligent and not hanging
around craft service and not hod nobbing, you know, when
(32:59):
you're not one or watching Judge Judy in the trailer.
You you know, you, yeah, you might be frankly a
little underprepared, more underprepared than you might hope to have been,
had you not you know, been having a cup of
coffee chit chatting atcraft service table.
Speaker 1 (33:18):
I don't know about that. I just think that the
reality of series television and the reality of our show
did not allow for a lot of.
Speaker 2 (33:34):
Excavation.
Speaker 1 (33:35):
A preparation is the wrong word. You didn't have a
lot of time to delve into your character. We had
was that ultimately we wound up discovering our characters as
we moved on in working on the show.
Speaker 2 (33:52):
Yeah, and obviously, you know, watching what you've done and
going likes that.
Speaker 1 (33:56):
Bit didn't work, don't do that again, that again.
Speaker 2 (34:00):
Because it really, I mean, there's a lot, there's a
lot about acting that is just like you know, oh
that's good. Yeah, you know, you know, I'm recently watching
Tom Hardy, who we all met at that time, pretty
much around right now, is coming up. He came to
do Nelysis and he's doing a show called Mobland. I
don't know if you've looked at it. He's fantastic, so
(34:24):
good in't it. He has found his this is his
this is his niche, much like Ryan Gosling found it
in Barbie.
Speaker 1 (34:32):
I think he found his. Uh, you know, slot if
you want to.
Speaker 2 (34:37):
I don't want to slot anyone, but if you you
know what they're really good at. Ryan is a comedic
actor and he's going to do great in comedic adventure
drama stuff, you know.
Speaker 1 (34:49):
And it's it's it's in my mind for both of them.
It's recognizing the minimalism, yeah, in terms of the trust
of what you're doing.
Speaker 2 (35:00):
And he and Tom's doing that. And mob Land in spades,
in spades, spades. He's so good in it, and and
God bless Pierce Brosnan never been better. I'm loving it.
He's chewing the scenery but doing it brilliantly. Helen Mirren,
(35:20):
you know, is a match to that as much as
any time. And who's the Irish brother, Paddy Constantine.
Speaker 1 (35:28):
Yeah, I've always envied he did a movie called In America.
Speaker 2 (35:33):
Yeah, that was the one that really shot him through
the roof. Yeah, and he's great in this.
Speaker 1 (35:40):
Yeah, it's a good show. I'm really enjoying it. So
here's the thing. The only one that I feel can
just dial it back in is the twat son.
Speaker 2 (35:52):
He's well, I don't I don't know how far you've got.
Speaker 1 (35:56):
I'm cut up.
Speaker 2 (35:57):
Oh well he's dead now, so that's spoiler. Yeah, they
you know, he goes to do that diamond deal in uh.
Speaker 1 (36:09):
Not the oldest brother, the younger one with the blonde,
the young one. You know.
Speaker 2 (36:14):
Oh, I think he's good.
Speaker 1 (36:15):
I think I think here's the thing you don't want
to put it.
Speaker 2 (36:19):
We are spent with Miggy in that apartment and Liam,
that little Liam Yeah yeah, he's little Liam. Yeah, but
he is, he's there, is there's a certain sort of
you know, look and Ilk to that London scally wag
and he's it mate. Yeah, yeah, yeah.
Speaker 1 (36:38):
I think part of it too is that, you know,
I think everybody is doing Look, you've got Tom Hardy
really suddly, being incredibly dangerous.
Speaker 2 (36:49):
He's so still and uh yeah, and you've got there's
a lot of actors that think that they're doing Clint
Eastwood by doing nothing, but they're just doing nothing exactly.
You know, there's nothing going on, and Tom's got he's
doing Clint Eastwood and but there's a lot going on
and he's really and his his his groundedness in this
(37:13):
is really really good. He's found his niche. And Phil
Marx yeah yeah, back to our show, Back to our show,
the mob Land of Star trek. Uh what else to
say about it? So we end in the decon chamber,
(37:38):
Yes we do. It's so camp, isn't it. I mean,
it really is. I was buffed, man.
Speaker 1 (37:45):
I have a question. I didn't quite understand at the
end of the episode. Why you why Paul says, rerun
the tests.
Speaker 2 (37:58):
Well, apparently it's so nice in there, I guess, and relaxing.
I had not thought of the decon chamber in terms
of that, but apparently that was the inference, is that
you know it must be.
Speaker 1 (38:12):
This is nice, a bit like.
Speaker 2 (38:14):
A sauna, and you know, clad ladies sitting next to you, right,
and you see that this will go and clean the.
Speaker 1 (38:24):
Guns, right, check for some more microbes. Why don't you?
That was a that was a funny sort of end
to it. I I I will say one of the
things that I appreciated, which I wish we would have
seen more of in our show, was the unique relationship
(38:47):
that to Paul and how she.
Speaker 2 (38:50):
Could have had Yeah, I'm sure I've got to see
it when we see it, but I'm sure they do,
you know, excavate that a little more. But no, as
you say, they certainly pushed you two together and that
became the sort of you know, the emotional drive. You know.
My disappointment with a lot of our show was that
(39:13):
I thought we were going to be something like Er
in Space, where each episode would be about the interaction
of the series regular characters, much more than the usual
Star Trek format, which was you know, arriving somewhere, figuring
their stuff out and moving on and each guest got
(39:35):
the show really and then you and the triumvirate got
you know. But I was always disappointed by that that
we because we were here's what do you know what
I mean even by this is episode fourteen, and I
think we've all by now proven our chops as actors
on this show, you.
Speaker 1 (39:56):
Know, yeah, you know, I mean, I'm not getting birth.
Speaker 2 (40:00):
No, the acting on this episode was great, I mean
right down to I mean I noticed things like this,
you know, when we're prepping to go and we're putting
the space ev suits on and it's a little because
it's that set was tiny, I remember, and it's a
little ballet and we move around each other seamlessly, and
then Hos she has her moment about you know, I'm
(40:22):
not going to let the team down, and she moves
out and I love that, And I'm going to blame
my own horn here and I button that scene with
closing the away case and that takes them out of
the scene. Now it's it's it's not obvious to do that,
but it makes it so real that you're actually prepping
to go somewhere, do you know what I mean? You know,
(40:45):
and actors have to think about, you know, the old
the you know, one O one acting is where have
you come from? Where are you now? And where are
you going to? And we were good at that, you know,
we were good at that, making it really making it
living in your head real.
Speaker 1 (41:04):
Yeah right, yeah, I think that working on our show
and working in film and TV, you you really have
a responsibility as the actor to do your part in
inhabiting the world and environment that you're actually in, you know,
(41:28):
and that's your job.
Speaker 2 (41:29):
And I know that.
Speaker 1 (41:31):
Gosh, I saw oh gosh, Bill Bill Night talking about this,
and he's of the school that you know, you read
the script two hundred and fifty times out loud, and
then you know everything and you get there with a freedom.
But the reality is is that, you know, we get
to these points in series television, which is different than
(41:53):
a movie by a million miles, where you have to
sort of get in there and how do you humanize
and normalize and an environment that one for you as
a human being is not natural and two as a
storyteller not natural either because it's all over the place.
Speaker 2 (42:15):
You never know what you're getting out of sequence. Yeah right, yeah, no,
you have to be on your toes and and and
in a lot of scenes you I mean, even our
button pushing it's or I love it when we're flying
the shuttle pod and you know, it's just a camera
facing it and then there's eight people behind the camera,
(42:38):
but you're pretending you're flying a shuttle pod and you're
looking at the sea stam with this tennis ball on it.
That's your you know, focus point. And yeah, you have
to actually believe you're flying that goddamn shuttle pod to
the gas giant. And you know, I think, isn't.
Speaker 1 (42:59):
There a scene in this episode where in one of
many few times, or just this time where you get
to see the captain on the screen. You're talking to him,
but the reality is, as you're saying, it's an orange
tennis ball attached to a stick.
Speaker 2 (43:17):
There.
Speaker 1 (43:18):
They're not there, And it's.
Speaker 2 (43:19):
Jan reading the lines sort of grumpily because it's we're
now in grace and we've gone half an lunch.
Speaker 1 (43:29):
Please get the lines right. Yeah, please get the lines right.
Not you, Connor. We'll work through that.
Speaker 2 (43:38):
But it was a pretty good, solid episode all round.
Speaker 1 (43:41):
Yeah. I also liked how less move the camera, you know,
in these spots and you know there it's it's so easy,
and there are some episodes that we have where the
camera doesn't go anywhere just and but you know, you
the three of you are maneuvering through this environment. And
I thought he did a very good job with that.
Speaker 2 (44:02):
Thank you. Yeah, he's a I like the fact that
he had it set up and a lot of a
lot of couple of scenes we'd come in and it
would be literally it would be almost hitchcocking, and you know,
you'd come from far and you'd come into focus and
there'd be only three faces staring at some cling on
you know, clipboard.
Speaker 1 (44:22):
And I can never I can never look at as
scene that requires flashlights again.
Speaker 2 (44:30):
I know, whatever, whatever show you want, any any FBI.
Speaker 1 (44:35):
We're going to flash the ceiling. We're going to hit
your chest, any procedural.
Speaker 2 (44:40):
It's like, yeah, we know what they're doing. Yeah, exactly
highlighting the scene. It's hilarious, isn't it. We did it well.
They were good friends to should have pitched one of those.
Speaker 1 (44:54):
But I enjoyed the episode. And and you know, I'll
be honest, I've heard again. I I haven't gone back
and watched this series seen by episode by episode until now.
And in terms of what we're doing about evaluating it
and critiquing it and talking about it, you know, we're
(45:19):
we're moving on pretty well in this. We're doing a
we're doing a good job of of of of selling
the enterprise.
Speaker 2 (45:28):
Yeah we are. Yeah. And the fact that, you know,
given it's our first steps faltering albeit some uh, we're
not messing up too much. And yeah, I think, uh,
you know, I think it's quite well balanced. And yeah,
(45:50):
I'm just looking at some of my notes to see
what else I wrote down here.
Speaker 1 (45:56):
It was a problem I.
Speaker 2 (45:58):
Was looking at is the fact that Hoshi is the
one that says, blow all the torpedo. It's a nice I.
Speaker 1 (46:04):
Really liked that.
Speaker 2 (46:06):
I do too, Yeah, because Malcolm looks at.
Speaker 1 (46:08):
It like, what are you crazy? We're gonna die?
Speaker 2 (46:13):
Can we take one back?
Speaker 1 (46:15):
Exactly?
Speaker 2 (46:16):
As a pet?
Speaker 1 (46:17):
You know, it was a It was a really good
as you call them road show episode.
Speaker 2 (46:21):
Yeah, yeah, yeah, really yeah indeed, Uh what else did
I look at? You know, we've talked about the kitchen
and the of the live well they were dead worms.
Speaker 1 (46:35):
But and then those those boar like animals dogs, Yeah, yeah,
and that wasn't cheap because yeah, they were CG.
Speaker 2 (46:48):
That was will cost a bit of money. In fact,
there was quite a lot of CG when you look
at it. I mean that whole Gas Giant was CG.
I'm sure.
Speaker 1 (46:56):
And I also have to say our show might be
the end of how classic shows looked and made a
transfer into its acceptable. You know, listen, believe me, fans,
we've all seen episodes of different Star Trek series. You're like,
(47:18):
holy smokes, that looks ridiculous, you know. And I think
that we were still shooting on film mmmm at that time,
and I think that you know, we we we did
a bridge a good bridge to what we're seeing on
television now.
Speaker 2 (47:35):
Modern era of the show. Yeah, I agreed. H Yeah,
I think you're right some I mean not a disparage
voyager or but I mean some of that early stuff
was still a little for the technology.
Speaker 1 (47:50):
Was the technology. That's something a little bit filmically clunky.
Speaker 2 (47:53):
Yeah, agreed and there right, Yeah, the actual you know,
things are always dated by their time period. I mean
they just aren't.
Speaker 1 (48:05):
Look at seventies TV, look at eighties TV.
Speaker 2 (48:09):
You can't, you know, you can't disguise the fact that
that was an eighties Teley program when that was a
seventies Teley program. But yeah, we we definitely this this,
this this version of the Star Trek definitely elevated it
to the modern era's eye. And and we've often said
this that I think they they trod that tightrope rather well,
(48:33):
so much that it was a prequel and a retro show,
but with you know, it was you know, turn of
the century audiences looking at now who were used to
looking at, you know, quite modern scapes. Do you know.
I was watching the CBS Evening News last night, which
(48:54):
I haven't done in a long time. I think I
don't know it looks like Norm McDonald's gone. I don't
know if that's.
Speaker 1 (49:00):
No, not Norm MacDonald, it was George went No.
Speaker 2 (49:05):
I'm looking at CBS. Sorry, did I say ABC? Yes?
Speaker 1 (49:09):
But you're talking about George went passing.
Speaker 2 (49:12):
No, I'm talking about now. The reason I'm telling you
that I'm watching CBS's Evening News with God and I
like him too. Who's the blonde guy that always turns
up for the political big political?
Speaker 1 (49:27):
I don't know the there's a there's an AFROC.
Speaker 2 (49:34):
Well, of course you do. Anyway. The reason I bring
this up is not necessarily for the newscasters. It's they're
using the same technology now in their show in the
news as they're using on discussion on Strange New Worlds
with the big They've got the big skate man, they really,
(49:56):
oh they do, and they've got the floor skate so
that when the but when the mother weather, when the
weather guy comes on to tell you about all there's
appalling hurricanes and tornadoes in Kentucky. Just now he's standing
in on the map and looking in color at all
moving through and they've got that whole scape. It's incredible,
(50:18):
and I was like, wow, it's a world we're used
to now. Yeah, no kidding, Yeah, I mean literally, they
showed you the formation of a tornado with that scape.
They're on the news floor, and it was I know
so well, I think we've covered all the bases. Yeah,
(50:43):
my cold comes and goes, I quite like, you know,
I mean it, you know, when when I.
Speaker 1 (50:49):
Start down with a very bad, very bad cold, but
he does give.
Speaker 2 (50:52):
Me an injection. I was aware of that that the
injection would have made me feel better. Uh, and then
and then it comes back again when when it wore off,
I don't know. I used it to comic effect, to
be perfectly frank. It was like, you know, if I
thought I could get a laugh out of it, and
(51:13):
hopefully people thought it was funny.
Speaker 1 (51:16):
It was funny. It was good good.
Speaker 2 (51:20):
Yeah. We were a good cast, you know, because we
did have a you know, a versatility where we could
be deadly serious and very emotional and then we could
be quite flippant and amusing.
Speaker 1 (51:33):
And that went for all of us, it really did. Yeah, agreed,
John was particularly good at that.
Speaker 2 (51:40):
And yeah, the more I watched John Billingsley, the more
I think I used to make fun of him when
we were doing the show. But I. The more I
watch him, I go, yeah, and he's he's he's creating something.
Speaker 1 (52:00):
They're at the appropriate gravitas when necessary.
Speaker 2 (52:03):
Yeah. Yeah, So all right, what's the next episode?
Speaker 1 (52:08):
It's uh, I don't know.
Speaker 2 (52:11):
I think it's Shadows of pajem Oh yeah, and yeah,
that'll be. That's morandorians, so more and orans and now
that we've already seen them in in the in the
in the incidents, and now we're going back to revisit
(52:31):
that and find out that they weren't so misguided at all.
Speaker 1 (52:36):
Yeah, I think it's I think I think Shadows of
the Gem introduces Shran as a dynamic character who's going
to be around on our show.
Speaker 2 (52:51):
Yeah. So well, that was a good chat about it,
and uh, I thought it was well written, well done. Fred.
We were sadly we were going to have read on
the show today. But he's God bless. I mean, you
and I the only you need to not working.
Speaker 5 (53:08):
No, we're not the only two. We're not the only two.
Just I've got deadlines. I got you know, I'm like,
you've got deadlines?
Speaker 2 (53:19):
What's that like?
Speaker 1 (53:22):
Yeah? You know, I would say that it's a it's
an odd environment right now, like you know, it's it's
been in the news. There's nothing happening here in Los Angeles, Dad, and.
Speaker 2 (53:37):
Trying to do things, aren't they They're trying to I
saw there. You know, Sharon Bass is trying to open
up iconic film locations like the Griffith Park Observatory or
the library or maybe Central Station.
Speaker 1 (53:52):
Unless you unless you give a production tax breaks, tax breaks,
and it's not going to happen.
Speaker 2 (53:58):
Can you explain to me any reason. Do you have
any idea why California is digging their heels in about
this tax break thing.
Speaker 1 (54:08):
Well, I think in terms of our business, it was
a matter of hubris and expectation that it would always
just be here. And then now you've got studios in
Atlanta and yeah, and all over the place.
Speaker 2 (54:24):
Oh god, and eastern and all over it's not Eastern
Europe anymore, but you know, all over the Czech Republic.
Speaker 1 (54:31):
And Bulgaria area. I mean, you know, and they got
great film crews right and listen, you know I've heard
several interviews where people are talking about how it was
even shooting at what's the famous one in outside of London, Pinewood. Yeah,
you know, it's cheaper for us to fly everyone over there.
Speaker 2 (54:53):
So Terry Mtallas went over there to do this new
Marvel show with pulled Back. Now, I dare say the
fact that Paul Bettany lives in England was you know.
But but also they're getting tax breaks, and if if
they weren't getting tax breaks, Paul Bettany would have to
come to la or gone to Toronto. And but the
(55:14):
fact is, yeah, they it's cheaper to fly James Spader
over there.
Speaker 1 (55:19):
And uh, and I'm having a hard time trying to
figure out how that tide will change. I kind of
feel like, you know, sometimes you've no longer well, the
studios aren't the studios anymore. They seem to have no
interest in being So I want to distribute your stuff,
(55:42):
but they don't want to make it with you.
Speaker 2 (55:45):
They want to make it somewhere else and bring it
to us, and we'll distribute it, right, And you.
Speaker 1 (55:52):
Know what, And the and the thing is is that
there are extraordinary actors in Toronto, yeah, in New Orleans obviously,
in all the other places where you can make a project.
And the truth is is that they're going to hire
(56:13):
locally and rightly. So the problem is is that the
place where it used to be made here where a
lot of us live, and so many actors are trying
to like make their living. There's nothing.
Speaker 2 (56:30):
It's not a little bit sad. Well, luckily we had
a bit of a good go of it right time
and our you know the years as it were in
our Hotton gorgeous years. And yeah, yeah, yeah, I'm always
eternally grateful what we did good. So indeed, yeah, all right, well,
(56:57):
good chatting, and I guess we want to take a
bit of time off now. We've got a couple of
great episodes in the bank which we haven't even talked
about much. Two things to talk about. Please have a
look at the merch and there was a logo down
there for you to QR code and they are the deconcha.
(57:21):
Well actually it took the dcon chamber from the logo
behind you, but it still looked good. And you know,
I'm going to say it again because caseyr W and
NPR are under threat because of the potential cuts to
federal funding for you know, public radio and PBS much
(57:43):
like them, we need your you know, supporting dollars. You know,
I'm I don't want to be the harbinger of doom
and gloom, But I don't know how much longer we
can go on supporting or doing this show without that support.
Speaker 1 (57:57):
So you know, I'll also say that, look, we all
know that doing a podcast now has turned into the
millions of fish in an ocean. If you do like
our show, yeah, you know we'll show up for it.
If if if you want to be a part of this,
(58:19):
and we want you to be a part of this,
you know we need your help.
Speaker 2 (58:23):
And just and if it's if it's a one time
donation and you don't can't afford the ten bucks a month,
and I think maybe we're going to re organize that number.
We may do a five dollars a month Patreon membership.
I think you know, because if you all just put
five bucks in, if ten thousand people put five bucks in,
(58:46):
we could make this show forever in a day.
Speaker 1 (58:49):
If you enjoy this.
Speaker 2 (58:51):
On Sundays.
Speaker 1 (58:54):
At eleven o'clock Pacific time, whatever time it is for you,
if you enjoy this and want to see more of.
Speaker 2 (59:00):
It, please support because we need your help. It's you know,
God knows, you know. You know, I don't want to
come off to mother to raise her, but we're doing
this for nothing. For the love of it. And but
it costs money to edit, it costs money to do
the social media, and you know we don't have any
(59:22):
So you may have noticed that the social media has
gone away for the time being because we just can't
afford to pay for it. So there you go. I've
said my piece. You know, I'm always saying my piece.
But we I know who you are. I've met some
of you, and you're not not really you're not not
wealthy enough. You know you know who you are.
Speaker 1 (59:42):
Get your hand in your pocket and help us out.
Speaker 2 (59:44):
Please.
Speaker 1 (59:45):
I really can't set it further than that, we love
doing this, we want to keep doing this.
Speaker 2 (59:50):
We enjoy that you enjoy it, and so you know.
Speaker 1 (59:53):
It needs to be a communal effort.
Speaker 2 (59:55):
Yeah it does. All right. With that said, have a
great little summer. I'm getting married in four weeks and
I shall come back and reform with man no more.
Speaker 1 (01:00:12):
I'm going to get my last f some lines in
Speaker 2 (01:00:17):
Honestly, all right, you guys, all right, Chile, the cham
The show has begun with card.
Speaker 2 (00:05):
It's the.
Speaker 1 (00:07):
Con Ladies and gentlemen, boys and girls, trekkies and trekkers.
Welcome back to another episode of the dcon Chamber. As always,
I am joined by my bestie who's about to be married.
Thank dun DeVos again John dominic keating Ladies and gentlemen.
Speaker 2 (00:28):
Yes, I'm sorry, ladies the market.
Speaker 1 (00:35):
We are doing an episode of the show, Episode fourteen
Sleeping Dogs, written by Fred Decker, who was also a
supervising producer that season, and directed by Les Landau. And
Les Landau comes from not like Martin Landau, but Les Landau.
(00:56):
His father was a big deal, and so is his brother.
Speaker 2 (00:59):
Any I tried to see if he was Martin's relationship too,
and the name that shall not be mentioned because she'll
pipe up said no not so which what Landaus were they? Uh?
Speaker 1 (01:16):
I believe that his father he was a producer, uh
and in television I think in early television. And then
his brother was a producer and one an Academy Award
for Titanic.
Speaker 2 (01:31):
Oh wow, okay, and.
Speaker 1 (01:34):
This was apparently this was the last professional job. Lets
did this seconding? Wow?
Speaker 2 (01:41):
Well I should have watne I made his last week
in show is a living hell.
Speaker 1 (01:52):
Well, so we are talking about sleeping dogs and you are.
You and Linda and Jolene are featured heavily in it.
You're also heavily in the ev suit. Yes, very much so.
Speaker 2 (02:09):
Actually, I don't know if you noticed, but about by
about the third scene where it's off and we're in,
we're in the undersuit really unattractive, dark gray, not a
very no, I mean, you know, not great. I mean, yeah,
Joe looks good in anything, but you know, yeah, I
know we were struggling a bit and that those sets
(02:33):
were great though, weren't they. I mean they got amazing
and you know, always just thumbs up to the to
the construction department and the set design and Jimmy, Jimmy,
Jimmy put it all together. I mean, and Dorothy who
did all the food. I mean that that skling on kitchen,
(02:55):
Oh my god. I mean it's like going up to
know French table mate.
Speaker 1 (03:00):
When they're alive.
Speaker 2 (03:01):
Yes, they got they got live targs up at the
French table. And I like the start of the show
too with me because what I liked about this episode
is that it is in house. I mean, there are
there's the guest star kling On girl who I think
is is that Gabrielle Union. I think maybe her name.
Speaker 1 (03:23):
Gabrielle Union.
Speaker 2 (03:25):
Now why did I write that name down? It might
be Michelle B. Bonita. I think that might be her name.
Speaker 1 (03:31):
Gabrielle Union is married to Dwayne Wade.
Speaker 2 (03:34):
Dwayne who's that then.
Speaker 1 (03:36):
Basketball retired Hall of Fame basketball player.
Speaker 2 (03:40):
Well, at any rate, anyway, I like that only scene
between me and what I liked about this episode was
that it's kind of in house and it sets up
some relationship dynamics between the series regular characters, not least
how she decides that she's got her face legs yeah,
(04:02):
and wants to go on this away mission when we
find this gas giant with the with the uh wayward,
what's the weather I'm looking for? Just reading a book
about Columbus, I should have some sea shanty and distressed
cling on distressed, yeah, cling on ship that's you know,
(04:24):
just falling down into this gas giants, you know, mouth
of pressure, and and we got on board.
Speaker 1 (04:34):
Was it called a Class nine Class nine? Yeah?
Speaker 2 (04:38):
But I like the fact that it sets up these
dynamics between us, and it starts with Malcolm teaching how
she how to use this new face pistol in the armory,
putting her through her paces with it's a nice scene.
You're very kind, yeah, and quite good. Good golf tutor,
(05:02):
you know, and her swing's not bad. And then and
then the fact that she volunteers to go on this
mission is a is a nice setup. And I always
laugh when when anyone in us in a team, particularly
TV shows, they let out a little and three scenes
(05:27):
later they're dead. And so Malcolm starts coughing at the
end of that scene, and they.
Speaker 1 (05:35):
Had the worst of all time.
Speaker 2 (05:37):
The next time I decided to play it, I did
decide to play man flu.
Speaker 1 (05:42):
Yeah, right, very good.
Speaker 2 (05:43):
I thought it was, you know, get some comedy out it.
Speaker 1 (05:46):
Very good.
Speaker 2 (05:47):
I have to say I'm not I am manflu man.
I don't do well with any kind of flu or cold.
Speaker 1 (05:55):
I don't feel my head.
Speaker 2 (05:59):
Here. I don't understand. And I like that scene between
me and John. It's rather nice.
Speaker 1 (06:07):
Yeah, he's him holding a napkin at the end.
Speaker 2 (06:09):
And some good buttons. I noticed that they were all
the way through the episode. We had learned how to
button scenes really well by now and h and we
got very good at it. I have to say.
Speaker 1 (06:22):
And I also say that I think it was important
for Ho She's character to do this and not be
afraid anymore. It was sort of her watershed moment to determine,
you know, if she was going to be like a
real functioning member of the group. And I appreciated that.
I didn't you know. I think at this point the
(06:45):
only one that we have yet to see have that
is Mayweather is Travis.
Speaker 2 (06:52):
Yeah right, yeah, he I mean it comes, doesn't it? Does?
Speaker 1 (06:56):
You know?
Speaker 2 (06:56):
He's coming soon? And fortunate is it for fortunate son yet?
And then of course the relationship between to Paul and
how she's nicely developed, and particularly in that rather moving
sort of intimate scene where she takes her through that
(07:17):
meditative process and imagines her on the rolling seas and
you can calm and call.
Speaker 1 (07:23):
Them and I'll teach you how to do it when
we get back.
Speaker 2 (07:25):
Yeah, that was an ongoing Do you remember that ongoing
expression on our set I'll see you in court?
Speaker 1 (07:32):
Yeah, exactly, I know.
Speaker 2 (07:34):
Those are the days. I mean, I mean, it's not
even funny now, no, you.
Speaker 1 (07:40):
Know, And I don't know if this is going to
sound un PC or not PC, but look, you know,
there has to be some kind of sort of fun
rapport between the sexes when you're working together.
Speaker 2 (07:56):
All right, Yeah, I mean, I know, I know, I
look at I think anyone at at the age of
thirty five and under is going to be rolling their
eyes at that now.
Speaker 1 (08:05):
But I will say this, but I will add to this,
add to it this. It always comes out of a
respect for the person that you work with and that
you're spending time with.
Speaker 2 (08:16):
Yes, I mean, if you're the if you're come, if
you've got a good heart and come from the right place.
Speaker 1 (08:21):
The fact is that, you know, I mean, a lot.
Speaker 2 (08:24):
Of our humor from particularly my boomersh G. You're you're
not quite boomer, are you? Just on the gen X
gen X? So you know, we grew up with a
with a with a humor and jokes that now are
definitely you know, you know, denied unacceptable, and yeah, took
(08:46):
me some education to sort of go, you know, yeah,
that's not funny anymore, dom and used to stop thinking
and saying that. And so I have for the most part.
Speaker 1 (08:58):
I mean, I think I think that you know, we
have we have gone to a place where we operate
socially and politically with a pendulum that is a bowling
ball that gets slammed against the wall in one direction
and slammed against the wall in the other direction. And
I don't think that we have at this point found
a stasis or a static point for where that's supposed
(09:19):
to live.
Speaker 2 (09:20):
No, I think you're right. I mean, I think, uh,
this new pendulum swing is it's quite it's certainly new
to my you know, age old generation, and it's it's
certainly gone way over here at the moment. It'll it'll,
it'll come back. And but it's good that it's gone.
(09:41):
It's good that it's gone. You know, you hear people
like Bill Maher complaining bitterly that, you know what, what
can I make jokes about now? Then mime and juggling
artists who dropped the you know, that's on what am
I left with?
Speaker 3 (09:54):
And and that's unfortunate, because you know, this is the
role of the comic, This is the role of the storyteller,
role of of.
Speaker 1 (10:05):
Anything that we do in communicating with each other that
is not a conversation. The way that we express how
we feel about things is somewhat and has been previously
for the last several years under assault. Yeah, that does
to take away the fact that there are you know,
dirt bags and people who take advantage of their situation.
(10:29):
But there's also we we lost a bit of the fun.
Speaker 2 (10:36):
Yeah, I mean the fun of making fun of one another. Yeah,
you know, I'm you know, we'll see, because you've got
to take it, you know, with a pinch of salt
and a and a wry smile. And we did anyway.
I think I'll cost hit a good time with that
(10:56):
with everyone between all the departments, and and we did,
you know, take the proverbial piss sound at each other,
but in a in a in a not in a
nasty way.
Speaker 1 (11:09):
And I think it was as a result of us
inherently trusting one another. Yes, you know, the respect that
one would have for another person.
Speaker 2 (11:16):
Yeah, you're right. And again we've always come back to
having Scott Bacula at the top of the food chain,
who is the most respectful and kind person you're likely
to meet the film set anywhere anytime. He was great
in this episode. He he just thinks it really well,
doesn't he. He's got all the you know, the slight
(11:37):
sort of I love all his you know, boyish wonder
you know, a gas giant and you know, what's what's
one day bringing and and then suddenly we're mets with
Frankly a rescue mission because you know, she the one
girl I meet mal jumps him. I mean, I love that.
(12:01):
I'm quite nimble around with the with all my action
stuff and the way I'm doing all the guns, the
pistol stuff, and I'm looking everywhere but up, and then
she comes plowing down on me. She was a big
girl too, I mean, you know, I mean strong and yeah,
(12:21):
shelves me.
Speaker 1 (12:23):
Yeah, I love I love how you you You would
always enter a room with it like.
Speaker 2 (12:28):
Down here, yeah, down there heah, yeah, absolutely, yeah, I'm
slightly on my toes. Yeah, moving like an alley cat.
I enjoyed that stuff, I really did. I liked being
the action man. And so anyway, she then nicksed the
shuttle pod. You know, what the hell? Yeah, there's us
(12:51):
desperately trying to read, cling on and figure out how
to function this ship. Apparently no big deal for a
clean getting in our.
Speaker 1 (13:00):
Shuttle pod.
Speaker 2 (13:04):
Too.
Speaker 1 (13:04):
Exactly.
Speaker 2 (13:07):
She's off. The grappler comes in, which I love, and
they shoot after him.
Speaker 1 (13:14):
You know, I had forgotten, or I never really realized
that when did we ever get a tractor beam? Did we?
Because we have to?
Speaker 2 (13:25):
I don't think so. No, we we were always we
always grappled.
Speaker 1 (13:28):
Because you could always just use a tractor beam and
suck that thing out, and we had bulkan.
Speaker 2 (13:33):
No, we didn't have that technology. We were still yeah,
we were pre tractor beam, so we were still sending
out fishing hooks really but effective, you know, I mean
we got that. I like the scene in Sick Bay
with her, and I mean I I like the expose
(13:57):
as it were, of the Klingon culture. And I was
slightly sort of scratching my head at the fact that
we Scott was reading nine hundred pages about the Klingons
on the Vulcan database. We we you know, we've had
a couple of run ins with them by now. We
took what was the big lad Tiny back to his homeland.
Speaker 1 (14:21):
I figured, I think this is at least our third
encounter with them.
Speaker 2 (14:24):
So but he's sort of talking about them like we
barely know anything about them. I did find that slightly strange,
and that no way.
Speaker 1 (14:31):
It was almost like a Klingon one on one It's like, here,
this is how this works, this is how they feel,
this is the Yeah.
Speaker 2 (14:38):
I thought that was a bit odd that no one
sort of went, we kind of know about these people,
don't we?
Speaker 1 (14:43):
And I loved once again Von Armstrong, the man of
a thousand track faces. He's the one is he playing
the Klingon too, He's the one who's dying in the years,
isn't he?
Speaker 2 (14:55):
He is? Is because he's he's Admiral Forrest. Is Admiral
Forrest in this episode two A bit, No, it's not.
So he's just doing the klingon, the dying Klingon, and
he does it very well.
Speaker 1 (15:08):
Yeah.
Speaker 2 (15:09):
God, bless the fact that they I mean they were.
They were good to him, they really were.
Speaker 1 (15:14):
The fact that he played the most characters in Star
Trek I something like fifteen or seventeen over the.
Speaker 2 (15:22):
Course, and to the uninitiated eyes, it were you wouldn't
know that that was him. No, you wouldn't, because his
voice was quite disguised and did a good job. Yeah. Yeah, Well,
so she's in sick May. She's got this toxin neurotoxin
(15:43):
from getting pissed up on sarantine nail. I love all
that sort of klingon language. We all joined in the
spoils or you know, it's all sort of you know,
you know, sixteenth century sea shanty language about taking the booty. Yeah,
(16:05):
I love all that.
Speaker 1 (16:06):
What's your take on you know?
Speaker 2 (16:09):
So for.
Speaker 1 (16:11):
Thirty five fifty years almost Klingons looked a particular way,
and then you get to Discovery and they don't look
like that anymore.
Speaker 2 (16:26):
No, I think it ticked off a lot of fans,
I believe, if I if I'm not mistaken that. I
guess each creative team wants to put their you know,
stamp on it somehow, and they they they feel that
they you know, it can be revamped. I mean, they
(16:48):
were revamped from the original the original series. They kind
of look like fu Manchew, don't they. I mean, you know, right,
But there's not a lot of difference between that in
terms of like, you know, the forehead on Yeah, yeah,
you know, you.
Speaker 1 (17:06):
Got you got Bob O'Reilly and J. G. Hurtzler you know,
doing thing, and.
Speaker 2 (17:11):
They looked like so, you know, seventies metal rockers and exactly. Yeah,
I mean I'm trying to think. I mean, I did
like that. I liked the look of the Klingons in Discovery.
I didn't, you know, I mean the fact that it
was different.
Speaker 1 (17:27):
I'll tell you what they looked. They looked they looked dangerous, Yes,
they did. There was something about the Klingons that we
had that there was a little bit something clownish about them.
Speaker 2 (17:36):
I was going to say comedic, Yeah, slightly. Yeah, And
there you go. And that is that's the how would
you describe it? The the march of creativity moving.
Speaker 1 (17:51):
On and the evolution of it.
Speaker 2 (17:53):
The evolution of it, I mean on our show definitely
had a very distinct and different model and feel. Albeit
it was a retro modern feel to Voyager, but it
was different.
Speaker 1 (18:06):
And I'll also say that, you know, the Andrians, for instance,
on our show, to me felt dangerous.
Speaker 2 (18:13):
Yeah.
Speaker 1 (18:13):
And anytime I'd seen them previous to that, there was
some right comedian element to them. Yeah, and they took
that part away.
Speaker 2 (18:25):
Yeah. And that was helped too by Jeff's performance, who
you know, brought the real menace with his performance. Yeah.
But as you say, I mean, you know, her lying
on that gurney bed in Sit Bay, spitting and frothy,
and any attempt to be helped was just seen as
(18:48):
a deep insult. It was rather amusing, and the Captain's
increasing impatience and irritation with you know, you know, we're
trying to feed you, please.
Speaker 1 (19:00):
Take the bread, right.
Speaker 2 (19:04):
I quite liked his growing irritation all the way up
to the end. He does it very well, Scott, Yes,
without losing it.
Speaker 1 (19:12):
You can just see the skin. You know, purpose is
purpling one vein pulsing. And also you know, again this
is one of those episodes where I found like and
Trips not in it very much. Is in it more
than I thought.
Speaker 2 (19:32):
But I liked your little scene with Scott when he's
is he going to go aboard and You're like, you know,
give him hell?
Speaker 1 (19:44):
But you know, and I know that it changed, but
you know, we're still in a moment where and this
is I'm sure me trying to figure out the totality
and the dimensions of trip that you know, I just
find him. There's a couple of moments that it's it's
(20:05):
snarky inappropriate to the level of what we're talking about, right,
And do you.
Speaker 2 (20:13):
Think that came out of the script and you were
forced to play it that way?
Speaker 1 (20:17):
No, I think that came out of not having any information.
And and this is still we're coming to the end
of the first half of our first season, and and
that I think there were elements to Trip that were
(20:38):
one dimensional, and that being unless he was involved in
something dangerous, he was kind of like, you know.
Speaker 2 (20:51):
Uh, uh, you know, I'll be eating my peak CAMPI.
Speaker 1 (20:54):
Yeah, like you know, like like a wink and a
nudge of like it's gonna be fine, which I which
bothers me because I don't think that serves an episode
of of of what you guys were going through.
Speaker 2 (21:06):
Yeah, I know what you're going to say, and it's like, well,
where where you know? Where where are you as the
team as a team? You know where? You know? You
you just that we have twenty minutes to live and
you and.
Speaker 1 (21:15):
Trip's going to assume going on and engineering here. Everything's
going to be just fine. Yeah, you know, and and
uh that that did change. But you know, and in
some of these episodes, these early episodes, I find myself
cringing a little bit about my reactions.
Speaker 2 (21:32):
Right, not all of them.
Speaker 1 (21:34):
But but like you know, well, for instance, that scene
in Flox's office where you know, we're trying to get
information from her, and I forget what the captain says,
but I kind of go like as we walk out
(21:55):
to me, that's inappropriate to me. That's that's not furthering
the story. It's it's it was just something that I
had to figure out.
Speaker 2 (22:03):
Yeah, and here's the thing about the you know, working
in TV, the director, god bless him, Les, who was great,
isn't gonna come up to you and say, you know,
this isn't serving you well right, they're not even seeing it,
if you know what I mean. I agreed, agreed, you know,
as long as it was in focus and everyone was
(22:24):
on their marks, and everyone got their lines right. And
Jan comes over and gives it the tick off she
was the script supervisor and says, yeah, they got all
their lines right. Moving on.
Speaker 1 (22:34):
Look, the truth of the matter is, and you know this,
that the series regulars on a show when you've got
these hired gun directors come in and they're really just
Unless they were former structric actors, right t Bar, Robbie,
Roxanne dor and any one of those, they would have
(22:58):
known the tone and the reality of any given moment.
But otherwise, you know this, in in doing a show
as a regular, they're gonna come in and go, yeah,
as you said, lines were right, Lighting's okay, everything's great.
The guest star is the one who winds up getting notes. Yeah, yeah,
and almost.
Speaker 2 (23:17):
It's not that they're frightened of the series regular They
kind of assume that we know what we're doing on
the day and that that's what your character would would do. Mm. Yeah,
and they're not they're not gonna they're not gonna pull
you up on it. And Jim Conway, I noted, did
(23:38):
pull me up a couple of times and say, look,
you know you could do that better.
Speaker 1 (23:43):
Conway was setting the tone in the pilot. Yeah, you know,
and that's that's also a different dynamic, you know. But
when you're when you've got you know again in the introduction,
this is Leslands last, I believe directing jobs and you know,
you know full well the rules and regulations of of
(24:04):
what it works when you're doing series television, and you're right,
it's it's you know, you're.
Speaker 2 (24:11):
Under the TikTok top top gun all the time, you know,
and you've got to come in on budget otherwise you
never know, work never coming back, not kidding, not unless
you're someone seriously you know, connected and you know with
a name. Where are we in the story of it all?
So well, I.
Speaker 1 (24:32):
Want to ask you, is this episode but because I
will say that you most likely had the most episodes
in the EV suit. Oh yeah, was this the first
one that was you must have had three or four
days in it? Yeah?
Speaker 2 (24:50):
Probably, Yeah, they were, there were, I mean there were.
This was I don't think this was a particularly hard one.
I'll always remember if Jolene was involved, we'd break a
lot because she could do I mean, I'm not kidding
a couple of minutes, maybe three or four, and then
she'd have to take a break from the if she
(25:12):
was wearing the backpack, it was just too much for
her frame. I mean they were.
Speaker 1 (25:17):
The backpack were probably forty pounds total.
Speaker 2 (25:20):
Thirty five pounds seven. The helmet was seventeen and a
half pounds. That was the hardest time until we did
Minefield with me and Scott and he had to spend
a lot of time and you remember put his back
out and that his personal trainer, Guy Mark, came on
and there the suit got ergonomically, you know, redesigned, so
(25:42):
that we now had this belt that would you know,
much like it. Yeah, we'd keep it all go pushing
out otherwise, and they did something with the helmet so
that it wasn't just your next supporting that weighty.
Speaker 1 (25:56):
They fashioned these apple box.
Speaker 2 (26:00):
Yes so that we could just sit down with the
battery rather than having because it was a nightmare if
they wanted to, you know, if you wanted rest of
that before that, they had to take the whole down
thing off, and it was that was as much a
nightmare as anything else. I would lose five pounds in
that those suits. Every episode I did one, I mean,
and I didn't have much to lose particularly, but they
(26:23):
were Yeah, that wasn't my word. I don't seem to
remember that being the worst one. I think that one
on the Comet with with Anthony was a particularly bad one.
And there are others coming up. I mean, I've told
you and i've my heart used to just drop into
my pants when I turn the page they step out
(26:46):
in their eva. How many pages? Oh god, seven pages?
Speaker 1 (26:55):
Not me, that's up all day.
Speaker 2 (26:59):
Yeah they were. It was hardcore. But you know I
didn't have to put the makeup on like John every time.
Thank god. I couldn't have done it. I mean the
two or three times I did do it, it just
ravaged me. I mean it would have I wouldn't look
like this. Now. Let me tell.
Speaker 1 (27:22):
We all had trade offs that we had to deal with.
Speaker 2 (27:25):
So yeah, and look, I mean you had to be beautified,
and that didn't that was you know that that didn't
take a.
Speaker 1 (27:33):
I remember in particular this episode. This is the first
episode I think where I'm like, you're really blonde.
Speaker 2 (27:41):
You really were, you were a golden boy. Yeah, I
feel the song coming on. So we now got to
figure out how to function this cling on ship and
try and get it out of the It's plunging deeper
and deeper into dense atmospheric pressure of the gas giant,
(28:03):
and we are in danger of being included, and we
now have no escape shuttle and we've got twenty minutes,
half an hour, but twenty minutes. So we come up
with a bright idea. I love that moment. She goes
photon torpedoes and Malcolm's over there, like catnet photoon torpedoes,
(28:25):
what are they?
Speaker 1 (28:25):
This only a couple of those.
Speaker 2 (28:29):
So we start blowing those up two by two to
try and you know, get some lift, and it doesn't
really work.
Speaker 1 (28:39):
You get like two hundred meters or two hundred meters.
Speaker 2 (28:41):
Yeah, and then we do the whole lot and at
the risk of blowing us all up, but the captain's
on his way back by now with the said kling
on lady. And I'm trying to think when she gets
to the ship she how does she help us out
(29:03):
of it? I can't remember. Well, she.
Speaker 1 (29:09):
Is convinced because if she allows her crew to diet,
a dishonor that she would occur would be significant and
not trying would be, you know, worse than death.
Speaker 2 (29:25):
Yeah, our wonderful executive producer, mister Dave Tabb is in
the house today. God bless him.
Speaker 3 (29:32):
Thank you, Dave, Thank you very much.
Speaker 2 (29:36):
Here.
Speaker 1 (29:37):
Hey, everyone, Connor here, we just want to take a
moment to thank you so very much for tuning in
and being a part of the Decon Chamber family. Your
support keeps us going and we couldn't do this without you.
Speaker 2 (29:48):
And if you love what we do and want to
help us even more, please consider joining us on Patreon.
You'll get exclusive perks, behind the scenes content, and even
opportunities to chat with us.
Speaker 4 (30:00):
And don't forget to check out are awesome mergh because
who doesn't want to wrap their favorite podcast in style?
Speaker 1 (30:11):
Baby?
Speaker 2 (30:11):
Every little bit helps, I promise you, and we're really
very very grateful for all of you who make this
show possible. So thanks for being there and please enjoy
this episode of the Decon Chamber. I know no, so anyway,
we I guess we inoculate the rest of them because
they will come around by the end, don't they. And
(30:34):
those sets were fantastic, I mean I do remember that,
and they were extensive too, And.
Speaker 1 (30:41):
I don't know how they did it.
Speaker 2 (30:43):
I don't know how they did it. I mean they
literally used to do it. I've literally, you know, within
three or four days, they'd have I guess they were
building these things in another construction warehouse and then they'd
wheel them in. I don't quite know how I'm trying
to think to get them into stage nine. Was I
guess there was a back door because that you know,
(31:06):
those doors to that we walked in to go to
stage nine were just tiny, but I'm assuming that there
was some big giant door jaws.
Speaker 1 (31:15):
On the other side of it that we never really saw.
Speaker 2 (31:18):
Yeah, and they must have just they wheeled him in there,
and they were fantastic. Yeah. I had a lot of
fun on that episode, and there was fun working with
Joe and Linda.
Speaker 1 (31:31):
Uh was it the first time the first time that
you the three of you had really yeah.
Speaker 2 (31:36):
Really, you know, and uh, you know, Malcolm was a
bit so headless chicken at times. I didn't notice that
that he might have kept a cooler head Joline to
Paul kept the cool head all the way throughout, but
Malcolm was definitely you know, you know it's.
Speaker 1 (31:57):
Gonna go, We're gonna die.
Speaker 2 (32:00):
I know, I don't know where whether I made the
right choices in some of those, but it's also you're
presented with, well, what what you know? This is? This
is action drama? Now how are we to play this?
And I might have been a bit more Jason Stathumus,
you know what I mean?
Speaker 1 (32:16):
Well I do, But I think also it sort of
circles back to what I was saying, is that, you know,
we had so little information about our characters that we
ultimately had to were given the great fortune to let
them evolve into what they wind up becoming.
Speaker 2 (32:34):
And you're not given any time to prep the actual
episode in your head. You really aren't. I mean, you
get it, you get the night before to read it,
and then you're shooting out of sequence scenes the next day.
And unless you're completely and utterly diligent and not hanging
around craft service and not hod nobbing, you know, when
(32:59):
you're not one or watching Judge Judy in the trailer.
You you know, you, yeah, you might be frankly a
little underprepared, more underprepared than you might hope to have been,
had you not you know, been having a cup of
coffee chit chatting atcraft service table.
Speaker 1 (33:18):
I don't know about that. I just think that the
reality of series television and the reality of our show
did not allow for a lot of.
Speaker 2 (33:34):
Excavation.
Speaker 1 (33:35):
A preparation is the wrong word. You didn't have a
lot of time to delve into your character. We had
was that ultimately we wound up discovering our characters as
we moved on in working on the show.
Speaker 2 (33:52):
Yeah, and obviously, you know, watching what you've done and
going likes that.
Speaker 1 (33:56):
Bit didn't work, don't do that again, that again.
Speaker 2 (34:00):
Because it really, I mean, there's a lot, there's a
lot about acting that is just like you know, oh
that's good. Yeah, you know, you know, I'm recently watching
Tom Hardy, who we all met at that time, pretty
much around right now, is coming up. He came to
do Nelysis and he's doing a show called Mobland. I
don't know if you've looked at it. He's fantastic, so
(34:24):
good in't it. He has found his this is his
this is his niche, much like Ryan Gosling found it
in Barbie.
Speaker 1 (34:32):
I think he found his. Uh, you know, slot if
you want to.
Speaker 2 (34:37):
I don't want to slot anyone, but if you you
know what they're really good at. Ryan is a comedic
actor and he's going to do great in comedic adventure
drama stuff, you know.
Speaker 1 (34:49):
And it's it's it's in my mind for both of them.
It's recognizing the minimalism, yeah, in terms of the trust
of what you're doing.
Speaker 2 (35:00):
And he and Tom's doing that. And mob Land in spades,
in spades, spades. He's so good in it, and and
God bless Pierce Brosnan never been better. I'm loving it.
He's chewing the scenery but doing it brilliantly. Helen Mirren,
(35:20):
you know, is a match to that as much as
any time. And who's the Irish brother, Paddy Constantine.
Speaker 1 (35:28):
Yeah, I've always envied he did a movie called In America.
Speaker 2 (35:33):
Yeah, that was the one that really shot him through
the roof. Yeah, and he's great in this.
Speaker 1 (35:40):
Yeah, it's a good show. I'm really enjoying it. So
here's the thing. The only one that I feel can
just dial it back in is the twat son.
Speaker 2 (35:52):
He's well, I don't I don't know how far you've got.
Speaker 1 (35:56):
I'm cut up.
Speaker 2 (35:57):
Oh well he's dead now, so that's spoiler. Yeah, they
you know, he goes to do that diamond deal in uh.
Speaker 1 (36:09):
Not the oldest brother, the younger one with the blonde,
the young one. You know.
Speaker 2 (36:14):
Oh, I think he's good.
Speaker 1 (36:15):
I think I think here's the thing you don't want
to put it.
Speaker 2 (36:19):
We are spent with Miggy in that apartment and Liam,
that little Liam Yeah yeah, he's little Liam. Yeah, but
he is, he's there, is there's a certain sort of
you know, look and Ilk to that London scally wag
and he's it mate. Yeah, yeah, yeah.
Speaker 1 (36:38):
I think part of it too is that, you know,
I think everybody is doing Look, you've got Tom Hardy
really suddly, being incredibly dangerous.
Speaker 2 (36:49):
He's so still and uh yeah, and you've got there's
a lot of actors that think that they're doing Clint
Eastwood by doing nothing, but they're just doing nothing exactly.
You know, there's nothing going on, and Tom's got he's
doing Clint Eastwood and but there's a lot going on
and he's really and his his his groundedness in this
(37:13):
is really really good. He's found his niche. And Phil
Marx yeah yeah, back to our show, Back to our show,
the mob Land of Star trek. Uh what else to
say about it? So we end in the decon chamber,
(37:38):
Yes we do. It's so camp, isn't it. I mean,
it really is. I was buffed, man.
Speaker 1 (37:45):
I have a question. I didn't quite understand at the
end of the episode. Why you why Paul says, rerun
the tests.
Speaker 2 (37:58):
Well, apparently it's so nice in there, I guess, and relaxing.
I had not thought of the decon chamber in terms
of that, but apparently that was the inference, is that
you know it must be.
Speaker 1 (38:12):
This is nice, a bit like.
Speaker 2 (38:14):
A sauna, and you know, clad ladies sitting next to you, right,
and you see that this will go and clean the.
Speaker 1 (38:24):
Guns, right, check for some more microbes. Why don't you?
That was a that was a funny sort of end
to it. I I I will say one of the
things that I appreciated, which I wish we would have
seen more of in our show, was the unique relationship
(38:47):
that to Paul and how she.
Speaker 2 (38:50):
Could have had Yeah, I'm sure I've got to see
it when we see it, but I'm sure they do,
you know, excavate that a little more. But no, as
you say, they certainly pushed you two together and that
became the sort of you know, the emotional drive. You know.
My disappointment with a lot of our show was that
(39:13):
I thought we were going to be something like Er
in Space, where each episode would be about the interaction
of the series regular characters, much more than the usual
Star Trek format, which was you know, arriving somewhere, figuring
their stuff out and moving on and each guest got
(39:35):
the show really and then you and the triumvirate got
you know. But I was always disappointed by that that
we because we were here's what do you know what
I mean even by this is episode fourteen, and I
think we've all by now proven our chops as actors
on this show, you.
Speaker 1 (39:56):
Know, yeah, you know, I mean, I'm not getting birth.
Speaker 2 (40:00):
No, the acting on this episode was great, I mean
right down to I mean I noticed things like this,
you know, when we're prepping to go and we're putting
the space ev suits on and it's a little because
it's that set was tiny, I remember, and it's a
little ballet and we move around each other seamlessly, and
then Hos she has her moment about you know, I'm
(40:22):
not going to let the team down, and she moves
out and I love that, And I'm going to blame
my own horn here and I button that scene with
closing the away case and that takes them out of
the scene. Now it's it's it's not obvious to do that,
but it makes it so real that you're actually prepping
to go somewhere, do you know what I mean? You know,
(40:45):
and actors have to think about, you know, the old
the you know, one O one acting is where have
you come from? Where are you now? And where are
you going to? And we were good at that, you know,
we were good at that, making it really making it
living in your head real.
Speaker 1 (41:04):
Yeah right, yeah, I think that working on our show
and working in film and TV, you you really have
a responsibility as the actor to do your part in
inhabiting the world and environment that you're actually in, you know,
(41:28):
and that's your job.
Speaker 2 (41:29):
And I know that.
Speaker 1 (41:31):
Gosh, I saw oh gosh, Bill Bill Night talking about this,
and he's of the school that you know, you read
the script two hundred and fifty times out loud, and
then you know everything and you get there with a freedom.
But the reality is is that, you know, we get
to these points in series television, which is different than
(41:53):
a movie by a million miles, where you have to
sort of get in there and how do you humanize
and normalize and an environment that one for you as
a human being is not natural and two as a
storyteller not natural either because it's all over the place.
Speaker 2 (42:15):
You never know what you're getting out of sequence. Yeah right, yeah, no,
you have to be on your toes and and and
in a lot of scenes you I mean, even our
button pushing it's or I love it when we're flying
the shuttle pod and you know, it's just a camera
facing it and then there's eight people behind the camera,
(42:38):
but you're pretending you're flying a shuttle pod and you're
looking at the sea stam with this tennis ball on it.
That's your you know, focus point. And yeah, you have
to actually believe you're flying that goddamn shuttle pod to
the gas giant. And you know, I think, isn't.
Speaker 1 (42:59):
There a scene in this episode where in one of
many few times, or just this time where you get
to see the captain on the screen. You're talking to him,
but the reality is, as you're saying, it's an orange
tennis ball attached to a stick.
Speaker 2 (43:17):
There.
Speaker 1 (43:18):
They're not there, And it's.
Speaker 2 (43:19):
Jan reading the lines sort of grumpily because it's we're
now in grace and we've gone half an lunch.
Speaker 1 (43:29):
Please get the lines right. Yeah, please get the lines right.
Not you, Connor. We'll work through that.
Speaker 2 (43:38):
But it was a pretty good, solid episode all round.
Speaker 1 (43:41):
Yeah. I also liked how less move the camera, you know,
in these spots and you know there it's it's so easy,
and there are some episodes that we have where the
camera doesn't go anywhere just and but you know, you
the three of you are maneuvering through this environment. And
I thought he did a very good job with that.
Speaker 2 (44:02):
Thank you. Yeah, he's a I like the fact that
he had it set up and a lot of a
lot of couple of scenes we'd come in and it
would be literally it would be almost hitchcocking, and you know,
you'd come from far and you'd come into focus and
there'd be only three faces staring at some cling on
you know, clipboard.
Speaker 1 (44:22):
And I can never I can never look at as
scene that requires flashlights again.
Speaker 2 (44:30):
I know, whatever, whatever show you want, any any FBI.
Speaker 1 (44:35):
We're going to flash the ceiling. We're going to hit
your chest, any procedural.
Speaker 2 (44:40):
It's like, yeah, we know what they're doing. Yeah, exactly
highlighting the scene. It's hilarious, isn't it. We did it well.
They were good friends to should have pitched one of those.
Speaker 1 (44:54):
But I enjoyed the episode. And and you know, I'll
be honest, I've heard again. I I haven't gone back
and watched this series seen by episode by episode until now.
And in terms of what we're doing about evaluating it
and critiquing it and talking about it, you know, we're
(45:19):
we're moving on pretty well in this. We're doing a
we're doing a good job of of of of selling
the enterprise.
Speaker 2 (45:28):
Yeah we are. Yeah. And the fact that, you know,
given it's our first steps faltering albeit some uh, we're
not messing up too much. And yeah, I think, uh,
you know, I think it's quite well balanced. And yeah,
(45:50):
I'm just looking at some of my notes to see
what else I wrote down here.
Speaker 1 (45:56):
It was a problem I.
Speaker 2 (45:58):
Was looking at is the fact that Hoshi is the
one that says, blow all the torpedo. It's a nice I.
Speaker 1 (46:04):
Really liked that.
Speaker 2 (46:06):
I do too, Yeah, because Malcolm looks at.
Speaker 1 (46:08):
It like, what are you crazy? We're gonna die?
Speaker 2 (46:13):
Can we take one back?
Speaker 1 (46:15):
Exactly?
Speaker 2 (46:16):
As a pet?
Speaker 1 (46:17):
You know, it was a It was a really good
as you call them road show episode.
Speaker 2 (46:21):
Yeah, yeah, yeah, really yeah indeed, Uh what else did
I look at? You know, we've talked about the kitchen
and the of the live well they were dead worms.
Speaker 1 (46:35):
But and then those those boar like animals dogs, Yeah, yeah,
and that wasn't cheap because yeah, they were CG.
Speaker 2 (46:48):
That was will cost a bit of money. In fact,
there was quite a lot of CG when you look
at it. I mean that whole Gas Giant was CG.
I'm sure.
Speaker 1 (46:56):
And I also have to say our show might be
the end of how classic shows looked and made a
transfer into its acceptable. You know, listen, believe me, fans,
we've all seen episodes of different Star Trek series. You're like,
(47:18):
holy smokes, that looks ridiculous, you know. And I think
that we were still shooting on film mmmm at that time,
and I think that you know, we we we did
a bridge a good bridge to what we're seeing on
television now.
Speaker 2 (47:35):
Modern era of the show. Yeah, I agreed. H Yeah,
I think you're right some I mean not a disparage
voyager or but I mean some of that early stuff
was still a little for the technology.
Speaker 1 (47:50):
Was the technology. That's something a little bit filmically clunky.
Speaker 2 (47:53):
Yeah, agreed and there right, Yeah, the actual you know,
things are always dated by their time period. I mean
they just aren't.
Speaker 1 (48:05):
Look at seventies TV, look at eighties TV.
Speaker 2 (48:09):
You can't, you know, you can't disguise the fact that
that was an eighties Teley program when that was a
seventies Teley program. But yeah, we we definitely this this,
this this version of the Star Trek definitely elevated it
to the modern era's eye. And and we've often said
this that I think they they trod that tightrope rather well,
(48:33):
so much that it was a prequel and a retro show,
but with you know, it was you know, turn of
the century audiences looking at now who were used to
looking at, you know, quite modern scapes. Do you know.
I was watching the CBS Evening News last night, which
(48:54):
I haven't done in a long time. I think I
don't know it looks like Norm McDonald's gone. I don't
know if that's.
Speaker 1 (49:00):
No, not Norm MacDonald, it was George went No.
Speaker 2 (49:05):
I'm looking at CBS. Sorry, did I say ABC? Yes?
Speaker 1 (49:09):
But you're talking about George went passing.
Speaker 2 (49:12):
No, I'm talking about now. The reason I'm telling you
that I'm watching CBS's Evening News with God and I
like him too. Who's the blonde guy that always turns
up for the political big political?
Speaker 1 (49:27):
I don't know the there's a there's an AFROC.
Speaker 2 (49:34):
Well, of course you do. Anyway. The reason I bring
this up is not necessarily for the newscasters. It's they're
using the same technology now in their show in the
news as they're using on discussion on Strange New Worlds
with the big They've got the big skate man, they really,
(49:56):
oh they do, and they've got the floor skate so
that when the but when the mother weather, when the
weather guy comes on to tell you about all there's
appalling hurricanes and tornadoes in Kentucky. Just now he's standing
in on the map and looking in color at all
moving through and they've got that whole scape. It's incredible,
(50:18):
and I was like, wow, it's a world we're used
to now. Yeah, no kidding, Yeah, I mean literally, they
showed you the formation of a tornado with that scape.
They're on the news floor, and it was I know
so well, I think we've covered all the bases. Yeah,
(50:43):
my cold comes and goes, I quite like, you know,
I mean it, you know, when when I.
Speaker 1 (50:49):
Start down with a very bad, very bad cold, but
he does give.
Speaker 2 (50:52):
Me an injection. I was aware of that that the
injection would have made me feel better. Uh, and then
and then it comes back again when when it wore off,
I don't know. I used it to comic effect, to
be perfectly frank. It was like, you know, if I
thought I could get a laugh out of it, and
(51:13):
hopefully people thought it was funny.
Speaker 1 (51:16):
It was funny. It was good good.
Speaker 2 (51:20):
Yeah. We were a good cast, you know, because we
did have a you know, a versatility where we could
be deadly serious and very emotional and then we could
be quite flippant and amusing.
Speaker 1 (51:33):
And that went for all of us, it really did. Yeah, agreed,
John was particularly good at that.
Speaker 2 (51:40):
And yeah, the more I watched John Billingsley, the more
I think I used to make fun of him when
we were doing the show. But I. The more I
watch him, I go, yeah, and he's he's he's creating something.
Speaker 1 (52:00):
They're at the appropriate gravitas when necessary.
Speaker 2 (52:03):
Yeah. Yeah, So all right, what's the next episode?
Speaker 1 (52:08):
It's uh, I don't know.
Speaker 2 (52:11):
I think it's Shadows of pajem Oh yeah, and yeah,
that'll be. That's morandorians, so more and orans and now
that we've already seen them in in the in the
in the incidents, and now we're going back to revisit
(52:31):
that and find out that they weren't so misguided at all.
Speaker 1 (52:36):
Yeah, I think it's I think I think Shadows of
the Gem introduces Shran as a dynamic character who's going
to be around on our show.
Speaker 2 (52:51):
Yeah. So well, that was a good chat about it,
and uh, I thought it was well written, well done. Fred.
We were sadly we were going to have read on
the show today. But he's God bless. I mean, you
and I the only you need to not working.
Speaker 5 (53:08):
No, we're not the only two. We're not the only two.
Just I've got deadlines. I got you know, I'm like,
you've got deadlines?
Speaker 2 (53:19):
What's that like?
Speaker 1 (53:22):
Yeah? You know, I would say that it's a it's
an odd environment right now, like you know, it's it's
been in the news. There's nothing happening here in Los Angeles, Dad, and.
Speaker 2 (53:37):
Trying to do things, aren't they They're trying to I
saw there. You know, Sharon Bass is trying to open
up iconic film locations like the Griffith Park Observatory or
the library or maybe Central Station.
Speaker 1 (53:52):
Unless you unless you give a production tax breaks, tax breaks,
and it's not going to happen.
Speaker 2 (53:58):
Can you explain to me any reason. Do you have
any idea why California is digging their heels in about
this tax break thing.
Speaker 1 (54:08):
Well, I think in terms of our business, it was
a matter of hubris and expectation that it would always
just be here. And then now you've got studios in
Atlanta and yeah, and all over the place.
Speaker 2 (54:24):
Oh god, and eastern and all over it's not Eastern
Europe anymore, but you know, all over the Czech Republic.
Speaker 1 (54:31):
And Bulgaria area. I mean, you know, and they got
great film crews right and listen, you know I've heard
several interviews where people are talking about how it was
even shooting at what's the famous one in outside of London, Pinewood. Yeah,
you know, it's cheaper for us to fly everyone over there.
Speaker 2 (54:53):
So Terry Mtallas went over there to do this new
Marvel show with pulled Back. Now, I dare say the
fact that Paul Bettany lives in England was you know.
But but also they're getting tax breaks, and if if
they weren't getting tax breaks, Paul Bettany would have to
come to la or gone to Toronto. And but the
(55:14):
fact is, yeah, they it's cheaper to fly James Spader
over there.
Speaker 1 (55:19):
And uh, and I'm having a hard time trying to
figure out how that tide will change. I kind of
feel like, you know, sometimes you've no longer well, the
studios aren't the studios anymore. They seem to have no
interest in being So I want to distribute your stuff,
(55:42):
but they don't want to make it with you.
Speaker 2 (55:45):
They want to make it somewhere else and bring it
to us, and we'll distribute it, right, And you.
Speaker 1 (55:52):
Know what, And the and the thing is is that
there are extraordinary actors in Toronto, yeah, in New Orleans obviously,
in all the other places where you can make a project.
And the truth is is that they're going to hire
(56:13):
locally and rightly. So the problem is is that the
place where it used to be made here where a
lot of us live, and so many actors are trying
to like make their living. There's nothing.
Speaker 2 (56:30):
It's not a little bit sad. Well, luckily we had
a bit of a good go of it right time
and our you know the years as it were in
our Hotton gorgeous years. And yeah, yeah, yeah, I'm always
eternally grateful what we did good. So indeed, yeah, all right, well,
(56:57):
good chatting, and I guess we want to take a
bit of time off now. We've got a couple of
great episodes in the bank which we haven't even talked
about much. Two things to talk about. Please have a
look at the merch and there was a logo down
there for you to QR code and they are the deconcha.
(57:21):
Well actually it took the dcon chamber from the logo
behind you, but it still looked good. And you know,
I'm going to say it again because caseyr W and
NPR are under threat because of the potential cuts to
federal funding for you know, public radio and PBS much
(57:43):
like them, we need your you know, supporting dollars. You know,
I'm I don't want to be the harbinger of doom
and gloom, But I don't know how much longer we
can go on supporting or doing this show without that support.
Speaker 1 (57:57):
So you know, I'll also say that, look, we all
know that doing a podcast now has turned into the
millions of fish in an ocean. If you do like
our show, yeah, you know we'll show up for it.
If if if you want to be a part of this,
(58:19):
and we want you to be a part of this,
you know we need your help.
Speaker 2 (58:23):
And just and if it's if it's a one time
donation and you don't can't afford the ten bucks a month,
and I think maybe we're going to re organize that number.
We may do a five dollars a month Patreon membership.
I think you know, because if you all just put
five bucks in, if ten thousand people put five bucks in,
(58:46):
we could make this show forever in a day.
Speaker 1 (58:49):
If you enjoy this.
Speaker 2 (58:51):
On Sundays.
Speaker 1 (58:54):
At eleven o'clock Pacific time, whatever time it is for you,
if you enjoy this and want to see more of.
Speaker 2 (59:00):
It, please support because we need your help. It's you know,
God knows, you know. You know, I don't want to
come off to mother to raise her, but we're doing
this for nothing. For the love of it. And but
it costs money to edit, it costs money to do
the social media, and you know we don't have any
(59:22):
So you may have noticed that the social media has
gone away for the time being because we just can't
afford to pay for it. So there you go. I've
said my piece. You know, I'm always saying my piece.
But we I know who you are. I've met some
of you, and you're not not really you're not not
wealthy enough. You know you know who you are.
Speaker 1 (59:42):
Get your hand in your pocket and help us out.
Speaker 2 (59:44):
Please.
Speaker 1 (59:45):
I really can't set it further than that, we love
doing this, we want to keep doing this.
Speaker 2 (59:50):
We enjoy that you enjoy it, and so you know.
Speaker 1 (59:53):
It needs to be a communal effort.
Speaker 2 (59:55):
Yeah it does. All right. With that said, have a
great little summer. I'm getting married in four weeks and
I shall come back and reform with man no more.
Speaker 1 (01:00:12):
I'm going to get my last f some lines in
Speaker 2 (01:00:17):
Honestly, all right, you guys, all right, Chile, the cham
Popular Podcasts
Fudd Around And Find Out
UConn basketball star Azzi Fudd brings her championship swag to iHeart Women’s Sports with Fudd Around and Find Out, a weekly podcast that takes fans along for the ride as Azzi spends her final year of college trying to reclaim the National Championship and prepare to be a first round WNBA draft pick. Ever wonder what it’s like to be a world-class athlete in the public spotlight while still managing schoolwork, friendships and family time? It’s time to Fudd Around and Find Out!
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!