Wired: What were your hopes and thoughts for doing the show? Did you execute them?
Moore: Before the miniseries started, when I was really thinking about the project, pitching it — before I was even writing it — it was really about capturing a certain mood, a certain vibe for the show, that I didn't think anybody had done. I was really in love with this idea of doing a sort of documentary style, making it much more naturalistic than science fiction is usually presented. And I was looking for something that was neither Star Wars-Star Trek, which I categorized in my head as a sort of the romantic side, or Blade Runner-Matrix, the cyberpunk side. I wanted a third kind of category to put the show in.
I wanted something that would be different. I really wanted it to be grounded, I really wanted it to be political, to sort of comment on society in a much more aggressive way than the work I had been doing on Trek and the other pieces.
And to a large extent, I would say, yeah, we did accomplish that. I feel good about that. I remember when I watched the miniseries for the first time, even when I got the first box of dailies, I was really surprised that it was what I hoped it would be, that we captured that mood. That we plowed this new row, I was really thrilled with that. And then we set about more fully realizing it, broadening it and expanding it, deepening the story, but the minis really got to where I wanted to go.
Wired: Did you have a notion for what you wanted those politics to be, or did you know you just wanted it to be—
Moore: I just knew that I wanted it to be political. I knew I wanted to really get under the skin of a lot of things that at Trek you sort of dealt with but in very safe ways, in my opinion. We dealt with a lot of issues and concepts that we also deal with in Galactica, but it always felt like there was an easy moral answer by the end of the episode, and if it was ambiguous in the end it was a safe ambiguous way, and the good guys couldn't get roughed up that much, they just couldn't be that bad. They weren't human beings on some level. They weren't quite fully realized human beings.
I wanted this show to be more political in the sense that watching these characters grapple with these ideas and concepts would be controversial and difficult, and that it would spark debate and [that] you should not always agree with what your heroes were doing. Sometimes you'd be unclear whose side you were really on in the debates, and I wanted it to be more complicated and complex, much like the world we really live in.
Wired: OK, I can hear myself nerding out already, but: Dealing with the patriarchal captains that Trek had, that Galactica does, too, you find yourself in a much more complicated relationship with these surrogate fathers on Galactica. How do you maintain the character as being that father figure even though You're going to think He's wrong more often or disagree with him? [Captain] Picard sort of becomes easy. He's going to step in at the end and tell you what to think, pat you on the head.
Moore: Yeah, it's a different notion. I tried to deal with it where Adama was patriarchal in the family sense, He's the father figure of the cast and father figure of the show, but that from the beginning they call him the Old Man. They respect him and like him, and they all have affection for him on the ship, but plenty of people disagree with him, and not everybody thinks he walks on water. There's sort of a respect and distance, and as you got further into the show, you could see that he was a deeply flawed man, a man who just fell into this position.
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