Here we are. lt's ''Full Circle'' and we're back on Abydos.
ls there nothing she can't do?
- Hi. - lt's Michael Shanks. Yay!
Action, Michael.
Jack?
Hi, Jack.
Abydos is in trouble. Anubis is on his way.
He's after the Eye of Ra.
l have that replica Catherine gave me. lt looks like this.
The real one is in a secret chamber in Ra's pyramid in Abydos
- but l'm not sure where exactly. - l was sure that was an aspirin l took.
Jack, it's really me. You have to find the Eye of Ra before Anubis.
Keep it, hide it, destroy it, whatever. We don't have much time.
lt's odd talking to you when you have this thing in your face.
Martin?
l know who you are, Daniel Jackson, but you know not who l am.
Now we're gonna talk to Anubis.
- Hey, Anubis. - My lord.
He's green because we have to track it to put in the black mask he normally wears.
- You gonna kick his ass? - lf l have to.
- David, you were also who? - Sokar.
But, because we killed you and liked you so much, we brought you back.
And l'm grateful.
You are indeed all-powerful, my lord.
He's not scary. He's got a green face.
Stop/
Stop me if you can.
(Martin) And lights go down.
Strike me down.
Do it now or l will destroy Abydos.
(Martin) Burn. Zap. Light goes down slowly.
(Daniel groans) Don't do this/
Cut.
Here it is, 18 hours into it.
We're in the second scene.
We're about to blow a lot of crap up.
l'm hoping that the people who have been slowing us down...
l can't say this on a DVD.
We don't have more than one day here. The sun will be down when l shoot this.
Stand by and...
background!
O'Neill, we're under attack. Ground forces have landed.
We will not be able to hold them off for long.
- Roger. You heard him. - l don't know what to say.
- lf Dr Jackson was here... - Oh, he's here. Trust me, he's here.
Son of a bitch/
Hey/ Where are ya?
We're only doin' this because of you.
lncredible 360.
And he's going 720.
- He might be going for the 1 440 record. - Agh!
All right. Good. That wasn't bad.
lt didn't suck too badly, did it?
And... action.
Fall back/
(Martin) Slow down, Chris. Slow down.
OK. Print one only on that. Let's move on.
We're taking a break from storyboarding
to look at a test explosion for blowing up the pyramid.
We're using a model to blow the pyramid up,
so we come out here to check it and see if it'll work.
Let's hope it works.
We're after an explosion of biblical proportions.
We're here with Wray Douglas, our special-effects coordinator on Stargate.
Behind him is James Tichenor, visual-effects producer.
What's going on today?
We've spent the last week loading Ping-Pong balls with match heads.
We've strategically placed them around the pyramid.
There's a quarter that we're gonna throw at the Ping-Pong balls to ignite it.
l think it'll produce a flame ball which might blow up the pyramid.
That's what l'm hoping for.
This is the Ned Kelly crash box, designed to protect cameras from the explosions.
There's still a top piece to go on this.
The aftermath. Well, Wray?
- Everything you expected? - Yup. That's exactly what l expected.
The Ping-Pong balls worked.
(Martin laughs)
And... action.
Look. An active gate.
This is how the colour gets made.
A shiny piece of nylon.
- This is the shimmerer. - Here it is. Have a look. Every day.
Good living right here. Good living. lt doesn't get any better than this.
We call him Mr Puddle.
The storyboard process takes place partly in the boardroom with the artist,
partly in my head, partly in James's head.
Once the storyboards have been roughed in,
the sketch artist spends overnight or two nights and finishes them for us
so that we can decipher what they mean.
Those then go to set occasionally. l give them to people like Michael Greenburg,
who will need to look at them just to see what l'm doing
cos most people can't follow what l'm doing on set.
What l'm gonna do now is show you the rough sketches, then the finished ones,
then you can look at the finished scene
and see how closely they actually came to what was originally in our brains.
This is the soccer shot.
ln the Abydonian village.
You won't recognise this from the feature because this village never existed.
You'll notice that the kids are there. Again, important in a rough sketch.
We follow them down to the village and they find some people in the village.
lt's important to see these kids playing ball.
l guess everybody's all right.
A close-up of them all looking around, seeing the village exists again.
Then Skaara comes in.
What's goin' on here?
And tight on Skaara.
Anubis destroyed the pyramid. Everyone was killed in the blast.
- What's my line? - ''They don't look dead to me.''
As a matter of fact, you don't either.
Death is only the beginning of our journey.
That sounds familiar.
ln the final sketches the shot continues, the ball comes in.
Do not fear. You will find your way.
O'Neill tilts down.
Why? What do you mean?
Stands up. Hey, the village is gone.
What do you mean by that?
ls this yours?
The Chaapa-ai will remain until you leave.
They spin around and look at the Chaapa-ai.
Turn back and he's gone.
Let's go home.
And they walk off into the sunset in a big wide shot.
Ever the filmmaker.
ENHOH