Action!
''Frozen'' is an episode that takes us back up to the Antarctic.
Following the episode ''Solitudes'', a group from the SGC,
civilian scientists, actually,
were posted above where we found the Stargate
and a frozen Jaffa.
Briefly, we start out with a conversation about
the fact that this project may be being shut down.
ln come two scientists that have been out in the ice,
saying ''Hey, guess what? We found something else'',
which then brings SG-1 up to the Arctic.
One of the reasons that they're there is because what they found may be
something that has to do with the Ancients.
So up comes SG-1 . As we get there,
they find that the scientists have pulled whatever it is out of the ice
and the ice block is sitting in the lab.
We thaw the ice and there's a woman in there.
And she's alive.
I got a corticaI response! Sam, I need your heIp.
- Let's go. - What's going on?
EIectroencephaIogram. It measures brain-wave activity.
We're installing copious amounts of refrigeration,
supplied by a local company, the same company we used five years ago
to do the episode in the underground where we discovered the other Stargate.
A lot smaller buildings, about a third of the cubic area,
so we've got the same amount of refrigeration.
Hopefully we can bring the temperature down to about -5°.
Leave your coats on. We're keeping the Iab beIow freezing
to maintain the specimen.
lt seemed so easy when l wrote it.
We have to turn the refrigeration off when we're rolling
because of the interior noise, and just try and keep the doors closed.
Keep the temperature down, keep the outside air from coming in,
especially on a day like this when it's summer conditions outside.
- How's the cold working for you? - The what?
My cold? Oh, you mean this cold.
The cold that you've tried to make here.
Please(!) Minnesota boy. Born and bred.
That storm is headed our way.
The day l was born, it was 49 below zero.
Swell the violins. Thank you.
So this is nothing. l'm getting nothing out of here.
lt's hot. l'm sweating. l'm dying here.
The snowmobiles are made to run on snow.
The ones we're using have plastic skis.
You can run them on cement.
They're propelled by a rubber track.
You can run them on this type of floor, on cement or anything,
but you can't steer them very well
so we're putting inline roller-skate wheels inside the skis.
You won't see them on camera,
but you'll be able to run them and steer them on the floor.
He ducked when he went out.
Does the cold help when you're doing this stuff?
Absolutely. Probably the most difficult thing
would be playing cold when you're boiling hot.
Especially in all the clothes we have to wear.
Yeah, it definitely helps. The more realism that you can get, the better.
At one point, we had to make our frozen woman.
We had to put her into an ice block
and we went over and over and over how we were gonna do this.
Finally, we decided we were gonna put her into a block that looks like ice.
We actually had to put Ona into a block that was acrylic.
We didn't use an ice block for her.
Because acrylic has to be precut, we ended up moulding a head cast for her.
See you on the other side.
This is a really long process, to mould a head cast for somebody,
and it's really uncomfortable for the actor.
lmagine being claustrophobic and having this pink goo poured all over your head.
They let it seep down across your face so it folds into all the curves.
Then they pour more and more,
until you've got this pink, plaster thing on your face and on your head.
The reason all this had to happen, believe it or not,
was to mould her face and part of her body into the acrylic,
and to get a perfect fit.
lt had to be fitted as perfectly as it did
because, when we did a reveal,
when we lift back the clothing over her face,
it has to look like she's still partly frozen in it.
l've done shows where you try and put people into ice,
and it doesn't work, it doesn't look real.
She is remarkabIy preserved.
We're showing you some scenes that'll probably never make it to air.
The Antarctic pIate wasn't covered by gIacier then. It wasn't at the South PoIe.
The gate didn't necessariIy originate there.
It couId have been moved from another pIanet at any point in time,
but that's what we need to determine.
- How? - It's not that hard! Jesus!
You've read aII the reports, Major.
- If this Iatest Iead turns out to be... - Sophie!
l like that. l think it works.
You wanna use that one?
Short and sweet, gets right to the end of the tease. Let's cut it in.
l think that works OK.
They wanna thaw it out.
Her.
We think it's a ''her'', sir.
ApparentIy it has mood swings, sir.
We don't wanna risk damage to the specimen.
l think we better go back to the other one.
We think it's a ''her'', sir.
It has a vagina, GeneraI.
We're scheduled after the Vagina MonoIogues
and they're not gonna let us say the word ''vagina''.
Anything else we could use to indicate the female anatomy?
To be honest, l'm not sure l understand it.
Something to do with human evolution. They wanna thaw it out.
l don't think anybody will see it, except for the DVD.
The special director's cut.
We are behind the scenes with Richard Dean Anderson.
You know, we'd be better served if you were in front of the scenes.
None of this behind-the-scenes stuff.
On a personal note, sir, did you happen to tape The Simpsons last night?
l think you know the answer to that.
l don't understand that obsession of yours.
Stab me in the heart, General(!)
Homer? You don't see the genius?
Yes, Jack, l'm sure it's funny.
lt's my life!
- Shooting in the snow again? - Oh, yeah.
- Just like in ''Solitudes''. - Just like in ''Solitudes''.
Same director, same frozen sound stage.
Coincidence? l think not.
- We're in troubIe, sir. - Oh, nonsense.
The difference between doing this show and ''Solitudes''
is in ''Solitudes'', l was crazed.
l was, like, ''l have no idea how to do a television show like this.''
And we had to deal with a whole bunch of elements,
the fact that we were shooting in a glacier
and there were no flat floors and things like this.
We shot everything off of cranes.
lt was just insane.
And now l can settle into it.
On this show, where you've got 12 people in a room, talking and things like that,
it comes pretty automatically what you have to do.
Now it's much more about telling the story
and telling it in the most effective way.
Can somebody bottom-Iine this for me?
The scenes in the dome, and the scenes where we first take her
into the frozen quarantine room with the frozen block of ice,
to have that cold and be able to see her breath
and to have that sense of physicality to it, really helped.
lf we were playing the cold, l don't think it would have read as well.
This door comes up.
Osborne comes running in.
You run over and find him over here.
Then when the guys leave, they go out this way, take off that way.
We stay back on Carter, we land on Carter back in here.
We don't watch them exit beyond the tunnel.
- CoIoneI, this is Carter. - We found the abandoned Cat.
We'II continue the search on foot.
VisibiIity is near zero and I keep Iosing the sateIIite Iock on the tracker.
The coId must be affecting the antennae.
We'II keep Iooking. O'NeiII out.
l love working with Amanda,
and hate working with everybody else.
(woman Iaughs)
You can't laugh cos they'll know it's you shooting it.
(Amanda) Curses! My cover is blown.