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l'm Christopher Judge,

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and we're gonna do some extra special
behind-the-scenes stuff for ''The Warrior'',

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which l wrote the story for, and
Peter DeLuise wrote the screenplay.

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This is Sharpe Sound. This is
where we do a lot of our looping

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and the postproduction sound.

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There's the lion,
and this is one of the sound stages.

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l said to Chris Judge
''You can kiss my butt!''

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Hey, Chris. l didn't see you there.

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- Here's Peter DeLuise.
- Welcome to Sharpe Sound.

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Director and writer of
the teleplay for ''Warrior''.

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I decIare this worId
a free worId for aII Jaffa!

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(cheering)

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You had two ideas for a pitch:

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the Amazon women episode
with Amazon Jaffa,

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and then you had the other pitch,
which was about lmhotep.

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He was a great thinker
of early Egyptian times,

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and so he was a natural to be a Goa'uld
personality that we would encounter.

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lf he was gonna fool us and we
needed to believe he was a Jaffa,

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he had to be undercover
as somebody else.

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Join us in the struggIe
against our oppressors

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- and Iive to see freedom!
- (cheering)

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So, in that way, l thought if he was very
charismatic and we put that out there,

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that Teal'c would say ''Oh, man.
We've finally found a rebel faction

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that we can join forces with
and get excited about.''

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And that's how that...

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l think that was the seed of the idea
that started to grow

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when you brought up
the name of lmhotep.

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Let us ceIebrate this new aIIiance.

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(cheering)

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- They reaIIy Iike doing that, don't they?
- Yes, sir.

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(Christopher Judge) The idea of the
Capoeira was absolutely phenomenal,

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and it gave the episode
a look and a feel like no other.

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How did you come up with that?

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After you submitted the story idea,
l was writing the outline for the episode.

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And it occurred to me that at the end we
were going to have this incredible fight

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between Teal'c and
the character of K'tano,

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who was eventually gonna reveal
that he was, in fact, lmhotep.

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You die at the hand of your god...

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(distorted) Imhotep.

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Because he's a 2,000-year-old being,

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he's had more time to
perfect his ability to fight.

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But that wasn't enough. l had to give him
a reason why he was kicking your butt.

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What l came up with was that he had
a special discipline of martial arts.

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l was inspired of course by Darth Maul
and his ability to do martial arts.

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I think a IittIe demonstration is in order.

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l was working out at the gym

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and l thought ''What could
the special martial art be?''

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And l saw a poster for Capoeira,
and Capoeira is Brazilian fight-dancing.

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Capoeira was a discipline
that was done to music,

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and it was done by slaves

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who were fooling their masters
into thinking that they were dancing.

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This is the perfect thing
for an alien martial art.

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So l contacted the guys
from the poster at my gym

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and they were keen to do this thing:
''Hey, we're gonna be on TV.''

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(Judge) The esteemed director Peter
DeLuise is slating the Capoeira scene.

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This is when we come onto the
encampment of different races of Jaffa,

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who have all banded together
to form their own nation of warriors.

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- And here it goes.
- Thank you.

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And... action.

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Very sweet.
This is the Bashaak training scene.

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If you wouId aIIow me.

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The weapon is baIanced,
but the warrior is not.

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When one overcommits, one
becomes vuInerabIe to counterattack.

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When one achieves baIance in combat,
one wiII survive to achieve baIance in Iife.

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(Richard Dean Anderson) Just as part
of the commentary of this documentary,

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notice the man in grey, in the costume.

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That is actually a beard and moustache.

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That's not a fake. lt's real.

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You might wanna zoom in real closely.

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You overcommit!

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(Christopher Judge) There's Rick, Tony...

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There's Amanda. Say hi.

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Hi.

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- How are ya?
- Peachy.

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Look at her. She's shy.

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l wanna say thank you to Stargate
for giving me this opportunity,

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and l hope we can do business
for many, many years. Bye.

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Hi, l'm Dan Shea,
stunt coordinator for Stargate SG-1.

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We're gonna see some Capoeira-like
fight choreography here

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in a couple of seconds. Kinda cool.

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(Judge) We're going to
record an actual rehearsal.

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Easy, stick boy. I'm just here to heIp.

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l also developed,
with the help of Wray Douglas

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and his incredible team of guys
in the special effects department,

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something called a revolver-shot rig.

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That is a camera on an armature

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that spins at very high revolutions -
one revolution per second -

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in a 20-foot-round circle.

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That simulates flow-mo, or bullet time -
something you might see in The Matrix -

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and was able to capture
in very slow motion,

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and yet continuing to be
very dynamic, your fight.

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And l really needed it
to be the clash of the titans,

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the incredible prowess and strength
of Teal'c matched, or outmatched,

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by this incredible titan
and amazing fighter, K'tano.

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And l really had to invent
a new way to make that sell.

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Here we are, shooting
the last scene of ''The Warrior''.

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Deceiver!

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We have been deceived!

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Deceiver!

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You have deceived us!

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You and your claims,
deceit and treachery!

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ln order to crush them in one attack,
the betrayer has been betrayed!

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(K'tano) You have
returned without victory!

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Joma Secu.

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You challenge me?

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Joma Secu!

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Very well.

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(director) Switch!

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Perhaps you think l will spare you.

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This is a fight to the death. Your death.

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ShoI'va!

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Is that the best you can do?

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(director) And fall!

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K'tano is not Jaffa!

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He was a Goa'uld.

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The Goa'uld lmhotep!

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K'tano was a Iie.

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But the cause that
brought us to Cal Mah was not.

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An alliance must be formed
between free Jaffa

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and our brothers and sisters of
the Tauri if either wishes to survive.

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(director) And we're bowing!
Everyone's bowing!

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Teal'c seems to be in charge!

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And boom!

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This is what a director looks like
when he's very concerned.

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Leave with us!
Leave with us if you wish to live!

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You say you wish to be free?

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FoIIow TeaI'c. He speaks the truth.

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Our time wiII come, oId friend.

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But not this day.