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Hi, l'm Peter DeLuise from Stargate SG-1.

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l'm a director, as well as
a coproducer, on the show.

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Myself, along with Martin Wood,

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are going to be showing you
some behind-the-scenes of the show.

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Sort of the way the machine works,
if you will.

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Hope you enjoy it.

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Come on behind the scenes.

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This is my office that l work out of.
l'm very proud of it.

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lt's got quite a lot of colour.

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lt's an assault on the senses, l admit.

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On the wall of my office
l have many concept drawings

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which l use to help inspire me

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and to remind me about all the crazy
cool stuff we have on the show.

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During the episode ''Descent'',

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this is how we go to
the computer core of the mothership,

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where Thor's engrams are being stored.

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We defragment his essence
onto one of these little zip drives,

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and we take off with them.

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Here's a concept drawing
of a prehistoric Goa'uld,

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a primordial symbiote, if you will.

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This was something
that we saw in ''The First Ones''.

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Just above it
there's a concept drawing of the entity.

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lt was right there that it says
''Child's Play''. That was the working title.

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Then it became known as ''The Entity''.

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That is the matrix, the supercomputer
for the alien mainframe brain

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that came in and started
wreaking havoc on the base.

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This is also a concept drawing
of the incredible ship

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from ''Wormhole X-Treme!''

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Great colour. lt's very artistic, and
that's why l like to keep them on my wall.

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This is Teal'c's wind gun. This is from
''The Fifth Man'', where they take the gun.

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This has become
a handy weapon for Teal'c

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when he wants to kick major butt.

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And this is a concept sketch
from ''The Tomb'',

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a very fun episode in which the Russian
team in SG-1 got stuck in a ziggurat.

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Also one of my favourite
horror-type episodes.

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This, you may remember, is
the body from the original pilot

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in which Sha're was Goa'ulded.

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The Jaffa came out of the pouch.
The woman put her head up here

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and pretended that she was
going through some anxiety.

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This is quite a typical sight
in the Stargate upper office,

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everybody hanging out in the hallways.

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This happens to be the moments just
preceding the first production meeting.

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ln two days
the sixth season will officially start.

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This is my special walk.
''O'Neill, come after me.''

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''Watch my butt, O'Neill.''

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This is day-one prep of ''Descent''.
This is a concept meeting.

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l get to sit at the head of the table.

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We've gone through the script

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and we basically say
''How are we gonna do that?''

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This is Anubis's command chair,

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with Anubis's blanket.

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His blanky is still on his command chair.

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This is what it looks like from the outside.
These lights light the hallway grid pattern.

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lf you recall,
this set was first being built

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in an episode entitled
''Wormhole X-Treme!''.

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Martin came through that door
and he turned the corner.

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At the time, there was a little hole
right there. This was all wood.

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They actually penetrated
right into the hallway,

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and then went down
the length of the hallway,

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and O'Neill and Martin came back
and that was the end of the act,

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where they had the standoff
with the men in black.

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This is what a starfield looks like
up close. This is in its folded little box.

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lt's hung all the way up in the rafters.

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lf you look really close,

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you can see that each one of
these beautiful stars is, in fact,

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just this little weird,
metallic, reflective thing.

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When it's spread out
it looks just like a field of stars.

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This particular piece
is called ''the jukebox''.

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lt's the command console, for the official
name, but we refer to it as the jukebox.

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This piece goes up here
and the guys place their hands here.

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The big joke, of course,
is that it's absolutely featureless.

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Our poor actors had to, you know...

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sort of put their hands in there
and say all sorts of weird gunk

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that equates to them operating the ship.

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This is strange.

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Part of the effect
that we're going for here

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is that we're on a platform
in a much larger room.

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So the set design is such
that they put this mirror here,

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and, at a very steep angle...

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Hello!

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..you can start to see
that it loses its illusion.

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But here, as you can see,

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we start to get the feeling
that the wall continues down

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and that we're on a platform.

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This is Amy,
one of the most hardest-working,

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underpaid people on the planet.

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lt's her job to keep
changing these damn numbers

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which nobody knows
what the hell they mean anyway.

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And...

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action!

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Whoa.

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What is this that you're doing here?

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This is a propane cannon that we're using
to give a nice flame ball down the hall.

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- ls this a beer keg?
- ln a former life it might have been.

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Yeah, it's just a container.

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We pump in the propane through a valve,

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check on our gauge,
when we hit the switch - open the valve -

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propane rushes out,
hits our ignition down over here...

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- Down this pipe.
- So that's like your pilot light.

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Then we get a nice flame ball
about 12 feet wide, about 15 feet long.

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Then the flame ball goes up and out.

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lt's a beautiful thing.

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And action!

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Ready, go!

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Whoo! That was loud.

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What?

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And cut.

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That's one half a hole.
Theoretically impossible.

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There's no such thing as
a half a hole, and yet there it is.

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There's the other half of the hole.

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This is what's known as
a matte extension shot,

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in which we film the actors
over a chroma green

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and it tells the computer
the exact outline of our characters,

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and we're free to put
any picture we want behind them.

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This is fantastic!

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The seIf-destruct has been activated.
We need to get as far away as possibIe.

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Hang, and then jump down. All right?

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And action!

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Jacob, this is Teal'c.
We're on board the ship.

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Let me have all the words,
and just pretend to plop down

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and don't break anything.

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- ''Jacob, this is Teal'c'', and action.
- Jacob, this is Teal'c.

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It's two IeveIs down this way.

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- You wait here.
- Yes, sir.

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We're at the wave pool here.

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There are the wave-makers.
We won't be using wave-makers today,

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but, essentially, what this
pool is for is to make waves

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and to test the integrity
of various ships, of boats.

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But we're using it to submerge a set.

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This is the giant room,
or what looks like a corridor,

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and it's being submerged into the set.

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This is where Richard Dean Anderson
and Amanda Tapping will be.

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When this gets lowered, the illusion
will be that the water is rising in the room

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when, in fact, the room
is being lowered into the water.

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That's Amanda Tapping.
She's a good sport today.

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We soaked her with water
and we've made her prune up.

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l'm sorry, sir.
l can't bypass the system locally.

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Jacob.

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Without the proper codes,
I can't access the security program.

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I'm gonna try to find
a back door to the program.

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How long's that gonna take? We're
looking at some major shrinkage here.

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Give me a few minutes.

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How long do you figure we got?

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A few more minutes.

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Cut!

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This is very taxing
because the water steals your heat.

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lt's hard enough just
to learn your lines when you're dry,

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but when your cadoodies are underwater,

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it's especially hard.

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- Cadoodies?
- lt's a medical term.

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Next time we crash our brand-new
mothership, let's do it in the tropics, huh?

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Actually, it wouldn't make a difference.

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At this depth all water is ice-cold.

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- Shallower water, then.
- Yes, sir, l'll keep that in mind.

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These are the greatest people
l've worked with, today.

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When you're working with elements
like water and people,

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you can run into problems.

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lt's tantamount to working
with kids. And animals.

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And action! Go up.

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(Carter coughs and spIutters)

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Dad, this is Sam. We're OK.

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We're in stage six today.
Usually, we're in stage five.

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That's at the Cheyenne mountain set.

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But this giant piece of set
has also been brought here and set up.

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This is our death glider.

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The death glider has no wings,
as you can see.

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These wings, we animate them in 3-D.

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Our actors have to climb in there,
and sit in the seats there.

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ln this scene
l'm trying to replicate a scene...

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You might see a scene like...

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this, in which you see two heads.

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Or you might see maybe a three-quarter.

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Or in ''Tangent'' you saw
lots of these kinds of shots.

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Nothing's working back here.

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This is a cloud tumbler.
lt has a pattern of clouds on it.

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lt's spun, and hopefully
reflected in the glass there.

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This is the Megamount.

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lt goes all the way around.

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That's crazy cool.

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There we go. Turn the camera upside
down so you can do it like a puppet.

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lf l had two eyes there, and a mouth...

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- Nose.
- No nose. Oh, yeah.

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We have to do that.

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(Peter) Have you ever done that?
That is the funniest thing.

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This is a scene
involving a glider sequence.

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We have Richard Dean Anderson
and Corin Nemec jumping into the glider.

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They're about to make their final
getaway out of the glider-bay doors.

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And... action!

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lt was not so great. Corin Nemec's seat
was shaking a lot and giving it away.

190
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So we asked him not
to shake quite as much.

191
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And, also, Richard Dean Anderson
was doing this with a very hurt knee.

192
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So, even something that would
be seemingly as easy as this

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has the potential for utter catastrophe.

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And could, in fact, alter all our livelihood.

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And action!

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Listen, if we don't survive this,

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- thanks.
- You're welcome.

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Amanda, be looking at Bill off the top.

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And...

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And... action.

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- Everybody all right?
- Yes, sir. We're fine.

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And cut. Lovely.

203
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Hang on.

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00:13:58,847 --> 00:14:02,726
AII members of SG-1
present and accounted for.

205
00:14:05,287 --> 00:14:07,278
TeaI'c, take Ieave.

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00:14:20,247 --> 00:14:21,236
ENHOH