5 de septiembre de 2009

DVD Galactica Temporada 4 a la venta

El 24 de septiembre de 2009 sale a la venta el esperado final de la mejor serie de ciencia ficción de todos los tiempos, la temporada 4 de BATTLESTAR GALÁCTICA.

El final de la saga épica se acerca y la búsqueda por la ansiada Tierra se aproxima a su conclusión. Pero, ¿estará Galactica, que ahora se cae a pedazos, preparada para su última misión? ¿Habrá llegado el último capitulo de la humanidad a su fin? Este pack de 5 discos contiene el final de la historia de Battlestar Galactica pero ¿será el mismo final para la raza humana?


Discos: 5 discos
Audio: Castellano 5.1 e Inglés 5.1
Subtítulos: Castellano, Portugués e Inglés
Extras: Versiones extendidas de episodios, escenas eliminadas, audiocomentarios de Ronald D. Moore

Compra tu la 4 temporada en:

Fotos Battlestar Galactica Temporada 4

Entrevista a Jamie Bamber de Battlestar Galactica

No doubt, March 20, 2009 will be a date forever ingrained in Jamie Bamber’s mind. It was the day that the final ever episode of Battlestar Galactica first aired. For the British-born Bamber, playing Captain Lee ‘Apollo’ Adama in Ronald D. Moore’s stunning re-imagining of the famous 1970s sci-fi show has been like a dream come true. Since graduating from the London Academy of Music and Drama, Bamber has more than served his time in a series of television shows that might be regarded as a rites of passage for any British actor. Making appearances in Hornblower and Agatha Christie drama The Murder of Roger Ackroyd, he looked destined for a career in starchy period pieces – until he auditioned for the role of Apollo in Moore’s 2003 three-hour mini-series that ultimately acted as a pilot for the subsequent four seasons. Following a group of humans aboard the eponymous spacecraft after escaping destruction at the hands of a cybernetic race known as the Cylons, Battlestar Galactica has become increasingly regarded as one of the most compelling shows of the last few years. As for the 36 year-old Bamber, whose real-life wife Kerry Norton has made several appearances in the show as paramedic Layne Ishay, his performance as the estranged son to Commander William Adama (Edward James Olmos) remains one of the chief reasons to keep watching. Below he explains how he feels as one of the greatest sci-fi shows ever made has drawn to a close.

Q: It must be very strange. The show is now finished but it’s picking up more and more fans all the time?

A: Strange, yeah, but that’s what we always wanted. We were always on slightly parochial networks and stuff. For example, I’ve just fallen in love with The Wire, and watched the first season, five years after it aired on HBO. And there’s an awareness that TV’s changing, and then if you make something good and unique – and we believe are show to be that – people can discover it in fifty years time. I know this is the last DVD launch, because now they’re all out there, so this was always going to be a big occasion. It’s an opportunity to spread the good news, as it were, of this show.

Q: Have you seen it getting more and more popular as time has gone on?

A: Oh, definitely. But that is the nature of television. It always works in that way. When the first episode of any show goes out, it takes a long time for it to seep into the public awareness because it hasn’t been rubber-stamped as a success or a hit – and that takes time. With our show, we’re an idiosyncratic show anyway - it’s got a goofy title that a lot of people will be turned off by. The fact that it’s on Sci-Fi channel, and its always on a slightly ancillary network…it takes a long time for those things to hit the mainstream and to be regarded universally and for people to fall in love with it. I’m aware so much more now that the show’s off the air that it’s an important show than I was when it was on the air.

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Q: Is it also that the show’s original 1978 source was a bit hokey and people remember that?

A: I think that lessens daily. Certainly when we started, that was the big elephant in the room – this original show. So there was a bunch of the hardcore fans out there going, ‘How dare we re-imagine perfection?’ And with the rest of the world, it was ‘Why would you?’ But the one thing it did give you was a bit of anticipation value. For those people that say ‘How dare you?’, they want to shoot you down. They want to see it so they can ridicule it. And the people who say ‘Why would you?’ they’re much harder to win over, because they’re antipathetic. But at least there’s an angle for the press, for example, to come at – which all remakes have in their favour for a while, if you do a good job. But the thing about it now is that we’re not really fighting that anymore. We’ve made 78 hours of television, and I think they made 20. We’ve told this story in a much more resolved and fuller way than the original ever did. So in a way, the conversation has moved on and people are more aware of our show than they ever were of the original.

Q: Was there a feeling of sadness for you when you got to the final season?

A: I always liken it to running a marathon. It’s the satisfaction that comes with crossing a finish line. Our show was never going to be like an ER that could just go on and on forever. It really lives and dies by the conclusion at the end of this huge odyssey, and if it doesn’t end, then the journey has no meaning. So we needed the ending to really validate the mythology of the show. When we got there, it was a real sense of satisfaction and achievement. But that inevitably becomes nostalgia very quickly and you realise you may never capture that kind of reward and work environment or excitement again. It’s going to be very hard to ever experience anything quite like this show. I think it’s almost unique. But that really is all down to the fact that it is perfect and it is finished, and it has a unity and a structure that makes it better than if it otherwise be if it was still going.

Q: How quickly did you know when it was going to end?

A: I think I knew from before the writer’s strike hit – at the end of Season 3. I knew that Ron had gone to the network and said, ‘I want a two year pick-up’ – in the way that J.J. Abrams had got for Lost. He wanted five seasons, and they said they were unable to guarantee a two-year pick-up, so at that point he chose to guarantee a four – and end it in four – and the network were shocked. They said, ‘Why are you going to do that?’ And he said, ‘I need to end the show. I need to do this right. I need to do it in the time frame that I understand before we get there. And not be caught short and having to wrap everything up in an hour special.’ So we knew very early that it was going to be four seasons and out. But then the writer’s strike through a spanner in the works

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Q: Why was that?

A: Because when we wrapped episode 4:13, there was a real chance we would never come back to finish the show. If the writer’s strike had gone on much longer, I think it would’ve been impossible to make it work financially to come back and finish it, and that would’ve been the end. So it became slightly anxious there for a bit.

Q: Did it make it easier, knowing the end was in sight, playing your character?

A: Well, it certainly upped the stakes. When you realise this is the last time you’ll have a scene on this set or with this character, there’s a certain importance that that scene carries then that concentrates the mind. You watch a tennis match and a potential match point is played with much more urgency – and normally better – than the first point in the match. And that’s just the way it is.

Q: Are you surprised the show hasn’t won any writing or directing Emmys, given how much critical acclaim it has?

A: No, I’m not surprised. Those award shows are famously predictable in terms of who they choose to honour. To be surprised would be slightly naïve about it. I do think there are gaping omissions within the awards that have been given. I think Mary McDonnell should’ve won an Emmy. I think Bear McCreary should’ve won an Emmy. I think Ron Moore definitely should’ve won an Emmy. And those I don’t think are controversial statements. I think a lot of people in America, within the industry, would agree with me. But the Emmys are famously geared up to celebrate the big four networks and they never really see genre material as award-worthy. But that doesn’t really bother me. It’s not something any of us are really upset by. I think the Sci-Fi network and NBC-Universal have been quite put-out by it, because they’ve got this hugely critically acclaimed show and it can’t garner anything in the mainstream awards. But we did win a Peabody award, which is arguably more significant than an Emmy.

Q: Have you taken the step of going to fan conventions?

A: I went to my first convention about four years ago. I haven’t been to one for over a year, but I’m going to do one in Paris. It’s a great opportunity to travel, to go to places and meet people you wouldn’t otherwise meet. The fact is this show is going to be discovered by people for many years to come. And I feel very excited by that prospect. And I know that the people who do the evangelising are the hardcore fans and they’re so engaged in it. They watch the DVDs on a regular basis in a way I will watch every episode once. It’s all fading now in my mind – but it’s still very visceral and real to them. They’ve embraced it and championed it and it’s a real privilege to give them a bit of my insight.

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Q: You mentioned The Wire – and your show has been compared to that series. Do you see those comparisons?

A: I do. They’re very similar, in the sense that every character is both good and bad, and the complexity of the characterisation. And the fact that the audience are not patronised with pat resolutions of plot points. The way stories are told is very similar to the way we do it on Battlestar. And The Wire is political with a small ‘p’. It’s about the contradictory forces at work within a community of people trying to do a job. The police really fighting themselves, in trying to police, and similarly within the drug-dealing community, there are opposing forces at work, there are good and bad, people trying to make a difference and people trying to stop people making a difference in both worlds. And I think that’s something we try and do on Battlestar. We’re a political show and a social show, with a small ‘p’ and a small ‘s’. We deal with how people deal with the most horrendous situations, and try and put them right and often make them worse. It’s about how you can do the wrong thing with the right convictions and you can do the right thing with the wrong convictions. You can make a difference in both ways completely different to your motivation. And they’re complicated stories about complicated situations. Obviously, they’re very different. The Wire is literal, it’s Baltimore here-and-now. But it approaches the premise with respect, understanding there is no right-and-wrong here, there is only procedure, and these individuals are not right or wrong, just motivated by a, b, or c. And the same is true in Battlestar. It’s a nightmare situation, which is difficult to steer through. They’re also serialised shows where every episode doesn’t resolve everything – and we involve the viewer and invite them into the world that we create. We deal with archetypes and mythological situations and they’re deal with actual, literal situations.

Q: How was Edward James Olmos, who plays your father, to spend time with?

A: Words fail me in terms of the appreciation of what it’s been like to get to know Eddie. He started as a very tough, very male taskmaster. And it entirely fitted our character relationship. He was quite challenging and categorical in his every pronouncement and quite difficult to understand. I remember as a pragmatic Brit, I found it very difficult to relate to him. And I think that wasn’t done accidentally on his part. He was being my Dad – and we didn’t get on initially. I was scared of him and I think he was trying to scare me. Then that disappeared when we started Season 1 and we all stepped up to the plate. Eddie and Mary really created this family environment of mutual collaboration, of being in the same thing together and telling a serious story. They’ve could’ve been these older actors…you see them all the time, these great actors who are just into themselves and when they do sci-fi, it’s to take the money and get the hell out and they don’t want to give of themselves too much because they don’t care too much.

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Q: Obviously then wasn’t the case here…

A: The opposite was true of Eddie and Mary. They gave everything and they cared ultimately and they impressed us all with the nobility all of our adventure. Eddie is now one of my closest, dearest friends, and I spend half my time at his house surrounded by his huge, extended family. And in LA, we live just down the road from each other. He will be a lifelong collaborator, friend and mentor to me.

Q: Will you watch every episode of Battlestar back-to-back, now it’s over?

A: Maybe when I’m 75 and I’ve never worked again, I’ll sit back and relive past glories! I’m more into the relationships that I’ve made on the show, which are more real to me.

Q: Did you meet your wife on the show?

A: No, I didn’t. We were engaged before we started shooting. We’re both in it because Eddie and Mary created a family and she was invited into the family, because we were all there. It was really that kind of creative atmosphere which doesn’t feel like the corporate TV world. It was really that intimate.

Q: You did a lot of British shows like Hornblower. So was it good for your career to come into an American genre show?

A: Oh, definitely. It definitely moved my career into an area that I’m much more excited by than I was before. British actors now are two-a-penny in Hollywood on TV shows. There’s like 35 or 36 on prime time shows in America right now. But when I went over, there were very few. It was very exciting. I remember feeling really apprehensive and exhilarated by the idea of playing a lead role in this American epic and working with American actors. And I’ve learnt a tonne from working with American actors. I think the television coming out of the States right now – particularly on the cable networks – is truly groundbreaking. They’re telling stories that the movies aren’t telling at the moment. In fact, they’re telling dramatic stories that are not really being told anywhere – even on the stage. The plays that seem to work on the stage at the moment seem to be very literal at the moment. New writing seems to be based very much in the here and now. But there’s something almost Shakespearean about Battlestar, which is unparalleled.

Q: There is a spin-off in the works called The Plan. Are you involved?

A: It’s a one-off film, which they shot soon after…I’m not involved. Most of us aren’t involved. Eddie directed it – and it’s really about the Cylons. But I look forward to seeing it.

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Q: You’re now on Law & Order: UK. What was the attraction of that?

A: It was different enough. I was not looking to come back to the UK really. I was in love with the whole idea of staying in America. But the idea of bringing an American show to the UK…I’m a bit evangelical about the way American TV is run. They really do facilitate creators to really create these ambitious stories, in the way that we don’t quite do here. The only on-going yarns that we tell, for twenty episodes across multiple years, are the soaps. We’ve never really done it with anything else. To make TV financially viable, you have to create a product that’s really attractive to a global market, and the way to do that is with quantity of good storytelling – and we limit ourselves to good mini-series. Six episodes of something like State of Play. We make iconic TV but we lack the financial wherewithal or the balls to make something that’s really going to cash in on the long-run. And I thought this was an opportunity to do that with Law & Order: UK, with a franchise from America. It’s sort of worked and it sort of hasn’t. I’m very proud of what we’re able to do in this country but I wish we could make it pay off. To see ITV in such trouble is really sad to me.

Vídeo Promo Battlestar Galactica Temporada 4

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