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Refining History
When Stargate SG-1 co-creator Brad Wright first announced in 2008 that he was "re-doing 'Children of the Gods,'" some of us wondered if he was about to pull a Lucas.

"Children of the Gods: Final Cut" has now been available for over a month, and critical and fan response for the product, not to mention DVD sales, have generally been positive. The film is roughly seven minutes shorter and includes new takes from dailies, continuity fixes and updated visual effects.

For those wondering why certain changes were made -- not to mention those still not convinced to purchase the DVD -- GateWorld wanted to sit down with Brad to discuss the root of his desire to "refine" the original SG-1 story.

This interview runs approximately 10 minutes and is available in audio. It's also transcribed below!
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GateWorld: You go into some detail on the interview and commentary on the Children of the Gods DVD but for those who haven't picked up the disc yet or are deciding to, what prompted you to go in and make revisions?

Brad Wright: In the first place?

GW: Yeah!

BW: It came out of a conversation between myself and an executive at MGM, Jim Packer, who was talking about going back to the beginning and looking for bloopers.

I said, "If we're going to go back to the beginning let's go and re-release "Children of the Gods" without that mash-up score between David Arnold's theatrical release and Joel Goldsmith's original score for us, which I thought was beautiful, and we basically got talked out of using by bosses at MGM.


Apophis's dialogue now includes an order to manually dial the Stargate.
And that happened because I watched my teenage daughter showing her boyfriend the show from the beginning of the series. And I'm walking by the family room where it's playing and I'm just cringing at these music cues. I watched over their shoulders for some time and I thought, "Man, we could do way better than that now."

GW: Now when MGM got the rights to Stargate they also secured the rights to the score?

BW: Yeah, and they basically said, "We're kind of insisting that [you] use it." They wanted to use all sorts of things from the feature.

It became a larger conversation. I said, "Look, if we're going to go back to that score what I'd really love to do is go back to dailies." It became this project of mine that was purely done out of a desire to do it. We weren't given a lot of money to do it and I put every penny of it into the picture. We went back to dailies. We re-cut it. We redid a significant amount of the visual effects.

When we originally did Stargate all of the vendors were different. A puddle effect was very, very difficult twelve years ago -- it's still difficult. Now we've got it mastered. So we redid all of those. We did things that bothered me from the beginning, like some clunky, clunky dialogue that I tried to get excised the first time around.

Knowing too that it was only a stereo mix we could go digital 5.1. We could clarify some things that fit in the series. There were some extra scenes written for kind of "ticking clock" drama that I didn't think were necessary for Hammond so I just took them out.

And we obviously got rid of the nudity as well, which I never believed belonged in Stargate because families gather around the television to watch this show. I'm not a prude, but anybody who has said "Oh yeah, I love Stargate! Let's go back and watch from the beginning," has gotten themselves a bit of a shock.

GW: You know I was talking with Darren when this was first proposed. And I said "You know what he's going to do?" Darren was like, "What?" I said, "He's going to cut out that sexual organs line. I know that that's gone."

I think you really went in there and shook that thing up. It's a completely different film.

BW: It's significantly different. It is the way I wished we had come out of the gate in the first place. Now hindsight is twenty-twenty and of course we wouldn't have been able to do it exactly the way we did it because there's a lot of technology that we have now that we couldn’t do then.


A scratch that appeared during the "Chulak monk" scene in the pilot has since been digitally removed.
For example, we also spent a big chunk of money getting rid of a scratch that appeared down the middle of the screen during dailies that was fixed only in a few scenes literally by cut-and-paste methods as opposed to digital removal which is what we did this time around -- like a wire removal.

But it was not cheap. We spent a big chunk of money to do that. But it was worth it. It allowed us to cut that scene the way it should've been cut.

The ending was also set up to continue a TV show as opposed to being a movie. Virtually everything that bugged me for 12 years is gone. I think that new viewers -- I knew I was going to get s*** for it from fans. "Why are you changing something that doesn't need to be changed?" Well I think because if you wanted to watch [SG-1] from the beginning this is where I would like you to start." And that's what I would say to a new viewer coming to the show.

GW: The Kawalsky implantation was one of the flags that was raised. Is it your intent that Kawalsky was still infected with the Goa'uld even though we don't see that?

BW: Of course he was. But that was done with somewhat an intention that the Goa'uld snake would be doing that as a threat -- could be a threat all the time. It happened in "[The] Enemy Within" but we're going to say it was a freak occurrence as opposed to something that was likely to happen many times in the series that we hadn't yet written at the time. [Laughter] And it didn't happen and so I thought it was kind of extraneous.

GW: I think the real scene for me, after watching this, that really tells the tale of what you were doing was removing the line of dialogue of Kawalsky, where Kawalsky says, "We went through that entire mission together and I didn't know that you had a son." That only validates the show so much more because of all of those subsequent episodes where Kawalsky was involved and admitted that he was closer with Jack than that pilot let on.

BW: Yeah, of course he knew. All O'Neill had to say is, "He kind of reminded me of his son." And I cut in a little reaction shot of Kawalsky going, "Oh, yeah, that's heavy. I know what that means." It changes everything.


The scene in Season Five's "Threshold" intercut with footage from the pilot almost found its way into Final Cut.
And I would argue here's the other big change in terms of character. In addition to re-voicing Christopher's entire performance, we edited it in such a way that it allowed Teal'c's change to be far more organic. You can see his misgivings as to the goings-on in Goa'uld world much, much sooner.

So it's less of a shock when he throws O'Neill the staff weapon. It's not such a deus ex machina. It's "OK, this guy was sympathetic from the beginning."

GW: It's more fulfilling, too. "Threshold," in Season Five, you deliberately go back in and explain how Teal'c went from where he grew out of his resentment for the Goa'uld, but it's much clearer in this version of the pilot now that this makes more sense.

BW: I toyed with putting that scene that I wrote in "Threshold."

GW: You know, I was wondering if that was going to go in!

BW: I toyed with it, but it's not necessary. I wanted deliberately to see how -- because it was something that Brad Rines and I talked about at the beginning of the editing process -- I wanted to see how successful that was going to be and I thought it was successful enough. It didn't need any further material.

In fact it's a shorter movie. If I had a lot of money -- and I didn't [Laughter]. If I had a lot of money I would've completely rewritten the opening sequence and re-shot it. I mean, the idea of ...
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