Welcome to ''The Changeling'' survey.
These are so much fun.
- (Martin) Where are we going, guys? - Nelson Creek Bridge in West Vancouver.
(Alex) An old abandoned highway going through Horseshoe Bay,
where we're gonna stage the crash site.
We'll go out to the bridge with stunt coordinator Dan Shea
and with special effects - Wray Douglas.
And a West Vancouver fire chief will meet us out there.
We'll talk about what we wanna do on the bridge,
then Dan and Wray will try and convince us it's not possible with their budgets.
But in the end it'll be great. You'll love it.
(Martin) Our bridge is down here near the highway.
lt's an old highway bridge that we're gonna take over.
And we're gonna use this highway that we just left as a background.
lt's hilarious being a director because wherever l walk, they'll all follow me.
lf l walked off into the bush right now, there'd be this line of people following me.
They think l'm doing something that's very creative by walking off into the bush,
when, in fact, actually sometimes you just have to, you know...
Well, you know. But they'll follow me.
So l have to go to the bathroom before l leave the studio cos l can never sneak off.
Excellent. Let's go.
OK. Here's what's gonna happen, guys.
The crashed cars will be here.
One here and one here.
All the vehicles come down here.
We've got a police car down here, right where the fire is.
Actually, on this side.
- Basically our 180 is this. - That's right.
That's a dead end. There's nothing happening there. They'll be there.
So we bring in a rescue truck and a pumper.
- Out here? - Right.
lt might not be able to hold the trucks. That wouldn't be a good thing.
Car crash over here, bridge lets go.
Take a look over the side. See how far down it is.
Whoa/
And action!
(alarm bell)
OK, let's roll.
(sirens)
(dispatcher) Rescue to engine seven. We have a two-car head-on collision.
One of the vehicles is leaking gas.
Roger that. Confirm location at Taylor Way overpass.
Roger that.
- ETA five minutes. - Ten-four.
Ten-four. Over and out.
OK, Probie. Time to get your feet wet.
- Ready. - Yes, you are.
We have the coolest job. lt's crazy cool.
At this point when we first get here, no flames.
Here they come.
OK? But we do have gas leaking from both cars.
- (fireman) l got the gas leak. - (Carter) Great.
Hi there. Can you hear me? Good boy.
l need you to stay still. We'll get you out soon.
He's alert and responsive. What have you got?
OK. Give me a hand here.
Let's pop the door.
Stay still. We're gonna get you out. Come on, Probie.
Hurry up with that clamp/
lt's all right. You're gonna be all right.
Easy now. On my count.
Three. Two. One.
(Carter's voice echoes) l need a charged line/ Let's get this fire out.
(man's voice echoes) l can't charge the line/
(man's voice echoes) There's no pressure.
- Carter's there. - (man) With the little kid.
And Jonas is with her, OK?
Teal'c looks up.
This first car - boom - starts to go up.
We're here. We see the flames start up and the camera finds these guys here.
They're lifting and running, and Carter throws the line back:
- T, get the heck out of there. - ''Get your ass out of there.''
And cut.
- T, get your ass out of there. - Everybody outta there/
l need flames coming out from both sides.
He goes from here, jumps through the fire, over the hood, and down to the other side.
- Save yourself. - l'm getting you out, old man.
Save yourself!.
No/
And cut! Nice. That's gonna work.
Martin Woods... Hey, Martin.
Well, l had wanted to play the dream sequences of Teal'c
with traditional actors' make-up,
without overemphasising the eyes, no tattoo and no gold at all.
But Martin had the brilliant idea of making him one colour throughout,
so that the transitions would be smoother
and you would not be able to tell when you were actually in the certain dreams.
So it would all be kind of interchangeable.
At first l met with some resistance and, of course, Martin had thought it all through.
Once he explained it, it was another one of his great ideas... of your great ideas.
Why, thank you, Chris.
Here we are, scouting the fire hall.
- Alex, would you start here? - Sure.
This is for a scene of the firehouse sleeping area, where Teal'c is asleep.
Bunks here, bunks here. Bunks there, bunks there. OK?
We'll put Teal'c down in here. We don't want to see a lot of his face, OK?
We'll be shooting from here, so we see the sleeping guys in here.
You'll black that out. We're looking that way.
We're setting up for a motion-control shot where we go from the café to the fire hall,
with Carter at one end and Carter at the other end of the same shot
with a transition on Chris's face.
Major Carter.
Teal'c. l thought you were gonna get in a few hours of kelno'reem.
l was unable to do so.
Does that happen often?
lt is rare, but it does happen.
Most often when recovering from an injury.
You look OK to me. Why don't you try a glass of warm milk?
l would prefer not to consume bovine lactose at any temperature.
A cup of herbal tea, then. lt can't hurt.
You might just be preoccupied with the upcoming mission.
(Carter's voice fades)
Don't deny you're worried. lt's all over your face.
What's on my face?
Using the motion-control as we did in the cafeteria scene,
this will be the other end of it, establishing that we're in a fire hall.
Motion-control. Whoa.
We don't get that in this show often.
And if we don't do it quickly, we won't get it again.
Do it.
There you go, Martin. Right to you.
Every day, five days a week.
They call me the patriarch, which means father figure, which means l'm the oldest.
Hey.
He loves us so much.
This is gonna be exciting.
That's a concept.
Let's clear everybody out of the hall, except for Gia and Chris right now.
- l wanna start charging down the hall. - Yeah.
Charge down with us, OK? Go, guys.
Charging, charging, charging down here.
Keep going and... keep going.
And you're going this way.
And stop at this door.
We're in here. Gia, what l'd like you to do is you come straight through.
Look down, and then turn.
There and...
You don't actually leave here. lt'll lead into the gate-room shot, OK?
l'd like you to come around like this, get on top of him like this when he's turned,
then back over here and push into Apophis when we do it.
The other side of this we'll do in the gate room.
Hopefully it works.
l think it's about time we shot it.
Action.
Here, almost everything is door.
Turn.
Great.
That looked really good... l hope.
You cannot escape your fate, shol'va.
C'mon, let's go.
And cut!
- Happy birthday. How you doin'? - Hey!
- Good to see you. - That's her personal trainer.
(all sing ''Happy Birthday'')
- Did you do this, Martin? - He called me.
Last week when l said ''ls it your birthday?'' he'd called.
He was calling me to tell me it was your birthday.
ENHOH