The members of the Producers' Panel were introduced to the audience. The panel included (left to right) Brad Wright (Executive Producer), Hank Cohen (President of MGM Television), Michael Greenburg (Executive Producer), Robert C. Cooper (Executive Producer), and Peter DeLuise (Creative Consultant).
[The panel comes onto the stage and takes their seats as they are introduced. Michael Greenburg's introduction comes last, almost as an afterthought: "Oh yeah, and Michael Greenburg."]
Michael Greenburg:
[Taking the mike and joking about his introduction] Oh, and Michael Greenburg!
[Testing the mike] Hello?...
[Referring to the earlier "boxers or briefs" question posed to Don S. Davis] I wear Jockey midways.
[Roaring applause from the audience.]
Brad Wright:
[Testing another mike] Hello? Is this working?
[The audience responds that it's not working, and they do some adjusting of the mikes.]
Michael Greenburg:
[Still joking with the audience as they fix the mikes.] In all of our free time we read the Siler Website.
[Feedback from the microphone, and a reaction from the audience. Peter DeLuise tries adjusting the body mikes.]
Peter DeLuise:
It was in your pocket, but I'm not going in there. [Laughter from the audience.]
Robert C. Cooper:
This guy's been in our pocket for a long time! [More laughter.]
[More feedback from the mikes, and then the problem is corrected and Brad Wright takes the microphone to begin the introductions.]
Brad Wright:
I just want to say a few things about everybody who's here, and what we do...
[He looks out into the audience and there is laughter as he squints against the blinding spotlights.]
We can't see anybody! As far as we know, this row is here, and then we have no idea...
Robert C. Cooper:
The rest of you are just special effects. [Laughter]
Brad Wright:
So, my name is Brad Wright. I'm one of the executive producers on the show, and my job is also being co-creator, I co-created the show and helped develop the show for television with Jonathan Glassner, who's not here today. I want to tell you about one thing, when Jonathan and I first sold this show to Showtime and MGM, we went to dinner to celebrate, and we said , "You know, we won't really know if we're successful until we have maybe a big convention or something..." [Loud cheering and applause from the audience] And I said, "Aw, come on, that's never going to happen!" [More laughter] And so I'm going to call him this afternoon and say, "I think we made it!"
Sitting beside me is the President of MGM Television, Hank Cohen. He's been around the show and helped develop the show from the very beginning, and gives us notes, and helps develop the show... and he pays us, so that's very very good. [Loud cheering and applause from the audience as several members call out "Thank you very much!"] Hank's fought for the show for us, and has been a huge supporter, we can't thank him enough.
The man in the middle is Michael Greenburg, he's one of the partners on the show, one of the executive producers, he and Rick are Gekko Productions... [Applause]. And what Michael does for the show, not only adding notes, and writing occasionally for the show, and being a huge contributor on the creative end, in prep, and in script levels, Michael also is on the set twelve hours a day, on the side of the director with the monitors, and then he gets notes on cuts, and I think is arguably the hardest worker on the series. [Cheers and applause] I say "arguably" because we argue all the time... [Laughter and applause as Michael Greenburg agrees with him]
And then beside him is Robert Cooper, who is co-executive producer... [Cheers and applause] Robert started as executive story editor on our show and has come up the ranks and has now, for all intents and purposes replaced Jonathan on the show as the person who runs the show creatively with me and with Michael, and I think has written some of the best scripts we've done... [Agreement from the audience] Yeah, everybody agrees with that.
And beside him is little Peter DeLuise. [Loud cheers and applause from the audience] Peter has probably been in more episodes than anyone else... [More laughter] but you have to really look for him. He's also directed more than I think anyone else... Martin Wood has also directed probably as many... and arguably some of our best subjects. More important than that, he's also started to write for the show, and he's become creative consultant for the show. Basically he won't leave my office. [Laughter and applause] His contribution is fabulous.
So I just wanted you guys to know a little bit about every one of us and what we all do on the show, and I guess now we'll open it up to whatever questions you have.
Question:
What can you tell us about what's coming up on the show? [Laughter]
Brad Wright:
Uh, we have no idea. [Laughter]
What's coming up for the rest of the season? [Agreement and encouragement from the audience]
Peter DeLuise:
In which country? [Shouts from the audience]
Well, we're going to check in with the Goa'ulds, and the Serpent Lords, and we're going to see maybe the System Lords, and we're going to see some cool developments there, and we're going to see Apophis get even more powerful. [Cheers and applause]
Michael Greenburg:
Right now, the thing is, this show airs in syndication in the United States behind Showtime, and it airs in England at different times and in Canada at different times, so it's hard for us to... we don't want to give you spoilers. [Cheers and applause]
Robert C. Cooper:
One of the things that we did at the beginning of this year when we sat down to come up with some stories and some of the arcs for this season, was realize that over the first three years we had opened up a whole lot of different story lines, and they all needed some servicing. And we do pay quite a bit of attention to the fan response and some of the stuff that gets said on the Internet. So when people say, "Hey, we want to know what happened to those people," or "We want to see what happened in that particular storyline," we do pay attention. So I think besides some of the newer storylines that we opened up at the beginning of the year like the stories that are going on on Earth with the Russians and the Russian stargate and the replicators, we also, I think, felt a certain responsibility to go back to some of the stories that had been opened up even as early as season one, and kind of pay those off. So, I think one of the things you'll notice, especially in the second half of this season is that a number of questions you may have from earlier years will get answered. [Applause]
Brad Wright:
I think probably we'll create a few more questions too. [Applause]
Voice from the Audience:
No more Tok'ra Spice!
Brad Wright:
[Laughing] No more Tok'ra Spice, okay we hear you! [Loud cheers and applause]
Question:
With all the comings and goings of characters, be it a good going or a bad coming, you had mentioned that you do pay attention to what's going on on the Web. Has any of what fans have said on the Web... Some of us have noticed that what has been mentioned has kind of leaked over into some of the episodes. Are you really paying that much attention to us?
Brad Wright:
Well, to be honest, a lot of that is coincidence, and we've smiled at... It's coincidence because we're way ahead in production in terms of the seasons. We're just now prepping the second to last show. And so oftentimes a question will just be answered, it just happened to be answered, or something just happens to happen a couple of episodes later. And you know, "Oh, well, they're going to think they got the answer to that one. See if there are any responses to that next week." But unfortunately Stargate takes a long time to produce. Or fortunately, and so oftentimes we're way ahead. So if you have a question, or if something seems to be set up, or somebody suggests something, it's kind of... That's not to say that we don't listen and read, because we do.
Robert C. Cooper:
I think the one best example is the Skaara situation at the end of season one.
Brad Wright:
Yes, that's true. Skaara, in Within the Serpent's Grasp, was going to die. And Jonathan said, "Geez, everybody likes Skaara. If we kill this kid, they're going to kill us!" [Laughter] So we actually went back and we found a plate shot, which was a visual effects shot, of Skaara standing beside Apophis, and we put the two pieces together. So, in the original plan, Apophis was going to escape in the rings, and because there was lots of time to respond between the two seasons, we kind of put Skaara in there beside him. So, even though we didn't plan on him escaping, he managed to escape through the magic of visual effects. [Cheers and applause]
Question:
Why did Martouf have to die? [Loud cheers and applause]
Brad Wright:
[Laughing] I told him not to do that...
Robert C. Cooper:
The truth is that we kind of get flattered a little bit by that level of response when a character dies, because it means we've created a character that you like. [Agreement from the audience] It's drama. It's drama. You know, one of the things that attracted me to Stargate initially, was the idea that it's not a perfect world. SG-1 is kind of in the here and now and going out and facing a far more advanced level of technology, and aliens. And they make mistakes. It's not some sort of antiseptic perfect future where everybody gets along, and nobody dies and there's no consequences. One of the things that I think that we've tried to put into the show is a little more sense of reality, that we're going to screw up, that SG-1 is going to make mistakes, and have to live with that, and people are going to die, and you shouldn't necessarily count on everything always working out for the best. And I think that gives the show a quality, personally, that we hope the fans can agree with. [Applause]
Question:
Will we see Urgo again?
Peter DeLuise:
Oh, right. Guess what. You never know when he might show up. [Applause]
Question:
Does the 45 minute limit hinder you, or do you really feel constrained by that?
Robert C. Cooper:
Well, we've done some two parters.
Voice from the audience:
We want more!
Brad Wright:
I wouldn't mind answering that question. There are some shows where we feel, boy, we'd like to be able to do a special 64-minute episode of Stargate.
Michael Greenburg:
Actually, the one we're shooting now.
Brad Wright:
It may end up being a special 64-minute episode!
Robert C. Cooper:
It may be, before we're done with it.
Brad Wright:
That's the one unfortunate thing about television, that you make your show, and you go, oh, now it's got to fit into this specific time. But we're all used to it, and we try to know going in. Only occasionally have we put too much film there so that we have to cut too much out of the episode, and it feels trucated. Sometimes a story feels bigger. I know how you feel. We feel it too.
Robert C. Cooper:
You know, one of the great things about some of the new mediums that are coming out, though, like DVDs, is that maybe we can add additional scenes... [Loud cheers and applause] DVDs sometimes have scenes that are cut from shows...
Voice from the audience:
When's the US going to get this stuff?
[Loud agreement and applause as attention turns to Hank Cohen, President of MGM Television]
Hank Cohen:
It's in the works. [Cheers, and calling out for details]
February. [Loud cheers and applause]
The approximate date from Jeff Gordon, who many of you probably know or at least heard of at MGM, has been sort of working with you guys and putting this together, just told me that, hopefully, the plan is for February in the US. [Applause]
Question:
In Beneath the Surface, I'd like to know if Jack confusing General Hammond's name for "Homer" was scripted or ad libbed?
Brad Wright:
You know, that's a good question. That was scripted by Paul Mullie and Joe Mallozzi. They actually put "Homer Simpson" right in, and I changed it to "Homer" when I did my pass on the script. I'm not saying that Rick doesn't ad lib, because he does. We try to capture his voice, we write jokes and say "Maybe Rick will run with this one." And I'm telling you, he just loved that one. [Laughter]
Question:
One thing I've noticed this season, the stories seem to have sort of a moralistic storyline to them, like 1984 does, basically, in a Stargate episode. We've had moral stories in the past, but not quite as much as we did this year.
Brad Wright:
[Uncertain about the question at first, he is interrupted by Peter DeLuise's explanation]
I don't...
Peter DeLuise:
The "theme thing"...
Brad Wright:
Oh, yeah! That's right!
[Obviously a point of earlier discussions among the producers, the others laugh at Peter DeLuise's characterization as he goes on to clarify.]
Peter DeLuise:
I go up to them and I say, [shouting with enthusiasm] 'I got this great story with all these guys and they run and they jump over here and they blow up that guy...!!!' and he goes, 'What's the theme'.
[Loud laughter and applause as Peter DeLuise shakes his head and jokingly shows his frustration over the "theme thing" issue.]
Brad Wright:
[Laughing acknowledgement] I make him have a theme...
Robert C. Cooper:
Well, the truth is, we can only do so much running and jumping and blowing up stuff. Sooner or later, there's going to have to be some scenes with people in a room talking. And they need something to talk about. You know, 'Hey, did you see that guy blow up?' [Laughter]
Brad Wright:
Michael and I, when we talk about a story, I mean he's a huge fan, creatively, of stories that have a strong theme, and often that means in science fiction, a strong moral theme. I think that's just the nature of science fiction in general. And when you try to come up with a good solid story that is saying something, it sometimes comes across moralistic.
Question:
How hard was it to deal with appendicitis? [Laughter]
Brad Wright:
It hurts now! [More laughter]
Question:
Do you do bloopers?
Brad Wright:
No we don't.
[Calling out and "aww" from the audience]
We don't have any!
Voice from the Audience:
How much will you take to do them?! [Laughter]
Brad Wright:
Let me answer the appendicitis question seriously. I got a private phone call at 5:30 in the morning from John Smith, our producer, with the news that Michael had a ruptured appendix, and we were all very worried about him first. And then when we came into the office, the issue was, how do we finish the series? We were in the second to last episode, it was Crystal Skull, and he was obviously the lead in that episode. And I came up with this crazy, half-baked alien thing that was happening to him, and Robert came into the office and I pitched him the story, and Robert said, 'Why don't we just say he had appendicitis?' [Loud laughter and applause] And I think that the scene that Jack and Daniel did... [Audience calls out] They ad libbed a lot of that.
Question:
What was it like with Dom DeLuise on the set that time?
Peter DeLuise:
Oh, the Urgo show, that was an interesting situation for me because my father is not... he doesn't read very well, he's very dyslexic. And that's one of the reasons why he doesn't end up actually saying anything that's on the page. [Laughter]
Michael Greenburg:
Wait a minute. Dom is your father?? [More laughter]
Peter DeLuise:
I warned Brad and Jonathan that he may or may not sway a little bit. They were cool, they said, 'Oh, you know, if he shows up, that'll be fine.' [Laughter]
Michael Greenburg:
He said many of the... letters in the alphabet... [More laughter]
Brad Wright:
He was great, to answer your question. It was a joy to have Dom DeLuise on the set. It was a joy to watch dailys every day where Peter's going, 'Uh, no, no, Dad! Uh, just say this line because it is in the script!' [Laughter and applause] I have never gone into the editing room with more film. [More laughter]
Peter DeLuise:
That episode set the record for most printed footage.
Brad Wright:
Richard Dean Anderson said to me, 'There's footage in this thing that I don't think was... I think Dom did it back at the hotel with Peter, because I don't remember being there!' [Laughter]
Voice from the Audience:
What about an Urgo blooper reel?! [Loud cheers and applause]
Peter DeLuise:
It's the episode! [More laughter] What I should add is that I turned in a cut that was nine and a half minutes over the 45 minute mark. And Brad, God bless him, went through every frame of footage, the most, by the way, and that was quite a lot of footage, and made a cohesive, intelligent, pretty funny episode, I thought. And I'd just like Brad to... [Interrupted by cheers and applause]
Brad Wright:
I think when I was finished cutting that one, it was a minute and a half short! So we added another scene.
Hank Cohen:
Yeah, they called me for more money to go reshoot some extra stuff, because they cut all the other stuff out.
Brad Wright:
You remember the scene where Samantha is walking, and pretending Urgo is there? [Recognition and agreement from the audience] With the Doctor and Hammond? That was added afterwards.
Voice from the Audience:
That was one of the best scenes!
Question:
I have a question mainly for Mr. DeLuise. I was wondering, just how does one become a Creative Consultant, because I have always wanted to work in business, and that's about the only thing I can do... [Laughter]
Michael Greenburg:
Okay, let me answer that. First you have to be a star of 21 Jump Street. [Loud laughter and applause and calling out "Seaquest!"]
Peter DeLuise:
Oh yeah, that helped too. That gave me a respect for what Chris Judge does. I guess my answer to the question would be the same as with any company, I tried to make myself invaluable to this company by learning as much as I could about everything, and contributing, and picking up responsibility like so many little pieces of paper off the ground. And I had a way of communicating with Brad which was, you know, 'Just say what you want to say,' so 'You know what, I'm just the director, and perhaps I'm out of line, but maybe I could...' 'Just say what you want to say!' And eventually, I guess, Brad got so sick of me saying, 'You know what, I'm just the director, and I...' that he said, "Okay! You're a Creative Consultant! Now just tell me what you want to tell me!' [Laughter and applause]
Michael Greenburg:
If any of us have any questions about the myth of the show or the bible, we all ask Peter, 'cause he's the one that knows it all.
Peter DeLuise:
I do take great pride in knowing quite a lot about the show. I'm sure I don't know more about it than you do! [Laughter] But I go back and I watch the episodes over and over and over, and I'm looking for things that we've done before, and maybe we should touch on again, or perhaps footage that we could reuse and we could spend the money more wisely on newer, cooler visual effects somewhere else. So very often I'll go back and re-educate myself by watching the old episodes.
Voice from the Audience:
We do that too! [Laughter]
Michael Greenburg:
Everyone needs a Peter DeLuise. [Cheers and applause]
Question:
Mr. Greenburg, where is your business partner today?
Michael Greenburg:
He was afraid to be here. [Laughter] He's a shy guy. No, he's with his little girl. [The audience "awws"] We rob him of a lot of time with her, and so any chance he gets, he goes down there to be with her.
Question:
Why are there so many references to The Wizard of Oz?
Brad Wright:
That started as kind of an accident. I think it was Robert's first script, and he said, Robert wrote, "To Oz." We thought it was kind of funny, and so in another script we said, you know, "Yellow Brick Road," or something. And it just... and then Rick has a tendency to ad lib Wizard of Oz things, and so... [Laughter from the audience]
Michael Greenburg:
And stay tuned! [Applause from the audience]
Question:
Were the Austin Powers lines ad libbed?
Brad Wright:
Oh, the thing with the finger? [Gesturing, and the audience agrees]
Peter DeLuise:
Rick plays a contemporary character on television who himself watches TV and is affected by movies. And that, to me, makes it very fun because he's in touch with the culture that you are in touch with, as opposed to being a character who doesn't himself watch television or movies.
Robert Cooper:
Plus that goes back to what I was saying before about how in our minds Stargate is happening right now, and the characters are in this world, to me, makes if far more identifiable and people that you believe in.
Hank Cohen:
When we first set out to do this at MGM, we sat down with Jonathan, Brad, and Michael and Rick, and while we are big fans of science fiction, I think down at MGM we put as much science fiction out as any studio in the last, maybe, six, seven years. We said that the one thing we want to do, though, is to, you know, we knew with Michael overseeing it all, and Jonathan, that the effects would be great, and cool, and all that, but we wanted to really tell good, human stories. And I think, no matter what the genre, whether it's science fiction or comedy or obviously drama, that good storytelling is good storytelling, and I don't think there's a show on television that tells more interesting and more emotionally investing stories than Stargate. And it doesn't happen by accident. It's hard work.
Michael Greenburg:
That's a fact. [Applause]
Hank Cohen:
And the fact that you're as invested in the show as you are is a testament to, they've accomplished what they set out to do.
Question:
Is there going to be a sixth season?
Brad Wright:
We hope so!
Voice from the Audience:
So do we!
Brad Wright:
We could probably go for a very very long time. [Cheers and applause] But we never know. We will go as long as we can go.
Question:
In the episode Tin Man, you proved that you weren't afraid to have an ending that wasn't a happy ending, where there were some loose ends that were going to be a little awkward for people to walk away, and people were going to say, "But, but what then??" Are you going to be doing that to us any more? Please, please, please?
Brad Wright:
I spent four years on The Outer Limits where that happened all the time. And so, it's kind of natural for us to want to do that. We like leaving threads. We like leaving threads that will then turn into another story. In the episode Crossroads this year, the way it was written, the way we wrote it, yes, there was going to be a confrontation with Tanith and Teal'c. The way Peter shot it, and the way it appears in the episode, wow, you oughta know there was going to be a confrontation.
Michael Greenburg:
Robert and I watched the first day mixes of it and thought, wow, there's some really good Tanith stuff. [Agreement from the audience]
Question:
I noticed... [question about cutting the Showtime version for syndication]
Brad Wright:
Really?
Voice from the Audience:
"Does it get Showtime?" was changed to "Hmmm, Goa'uld TV."
Michael Greenburg:
That, I think, is the only one I know.
Voice from the Audience:
But they did it several times.
Brad Wright:
Several times? You know what, we don't swear on the show.
Voice from the Audience:
Well, "Don't let the door hit your ass on the way out" was changed, if I remember right, but there's just certain things that have changed. I mean, we get it at 11:35 at night, so the kids aren't watching then.
Hank Cohen:
I can kind of answer that. We do, obviously, because of formatting for syndication vs. Showtime and commercial breaks and integrations, there are certain adjustments that we have to make. But, to be honest, you know, if the station gets ahold of something and loops a line that they, for whatever reason, I can't imagine, because we don't have any of that in there. Actually, I didn't know that any of it was changed, and I will look into that.
Peter DeLuise:
You know, it's strange, because Richard Dean Anderson doesn't loop. [Laughter]
Michael Greenburg:
Also, "Don't let the donkey hit you on the way out" is just... [More laughter]
Hank Cohen:
But I will actually look into that, because they shouldn't be changing those things.
Question:
Hello?
Peter DeLuise:
Hello? Oh, I saw you had the microphone for quite some time, and you wanted to ask a question...
Question:
I just want to explain why I'm asking this question, because I've come from overseas, and it's very difficult sometimes to get detailed information about networking with people. I've been trying to break into the business on both the acting and the scripting sides, and I was wondering just what is the official pitching policy, and is it liable to change any time in the future?
Hank Cohen:
Pitching policy for this show, or in television in general?
Question:
Well, either topic, that should be fine, it would be useful.
Brad Wright:
Well, depending on the show, some shows have a very open pitching policy, and usually when they start they have a very open pitching policy, because they want ideas coming in from many places. Generally, if it is submitted through an agent, then what we do is we like to read a writing sample first, and then say, "Oh, this is a writer that looks like he could write, or she could write for Stargate, and then we ask them to pitch. The writing sample is to avoid the many many hours of time that we have spent in the past listening to pitches over the telephone, because we would rather do it in person, that we should otherwise be using it, putting directly into the show, into writing the show.
Question:
So what do you do with new writers like me? How do you get an American agent? I mean, I've had a couple bad experiences with agents, finding out they're the wrong ones. So I want to pick an agent or contact, I want to be sure he's one that can actually get in touch with you.
Brad Wright:
It is hard to get an agent...
Hank Cohen:
There's a journal of approved, credited agents, and the reason that people do that really is because of legalities, and if it comes from an agent or a recognized lawyer, then we're not worried about lawsuits. Because what Brad was saying earlier, you know, sometimes when people are sophisticated about the business, and they write and are creative, and have a good idea, even though we've already been doing something for two years, you know, they might happen to send the same one, and if an agent or a lawyer submitted it, we're protected, and if not, we're not. So that's the reason for that.
Question:
It's just that I live in Sydney, Australia, and most of the foreign productions down there are actually using American writers, and so it's sort of hard to get a break even in my own home town.
Hank Cohen:
You know, there's just no secret for breaking into the business. Everybody in there, I think, has a different story.
Peter DeLuise:
Become a production assistant in the show! [Laughter]
Voices from the Audience:
Are you hiring??
Brad Wright:
No, we're not. [More laughter]
Brad Wright:
You know what, it is really, really hard to break into this business.
Hank Cohen:
It is hard. And if there was any way to, like, bottle the formula, you know, I'd do it and retire, because there just isn't any way. Everybody has a different story.
Brad Wright:
I'm from Toronto, and I couldn't get arrested there. When I got my first job, it was in Vancouver, and...
Hank Cohen:
You got arrested here, I understand. [Laughter]
Brad Wright:
But not convicted! [More laughter]
Question:
I would like to work in Vancouver, and if you are planning on taking on any production assistants, or anything like that...
Brad Wright:
You have to understand that most of the jobs in the studios are unionized, so, you also have to join one of the accredited unions to even be a PA in a front office. It's a very... It's hard to break into this business.
New Question:
How about writing novels based on the show? Are you taking submissions? Where would somebody send an idea, or how would they go through that? It wouldn't come to you, but who would it come to? Because we'd like to see more novels, really.
Michael Greenburg:
Ancillary markets...
Hank Cohen:
Yeah, that is an ancillary market. Another area of MGM handles it, and it's, as far as I know, moving forward. It's not in my domain at all.
Question:
Great. Are they planning any young adult novels? I teach ten year olds, and I know a lot of them would really identify with some of the themes about... not necessarily one big gun fighting another big gun, it's "okay, our gun's smaller, so we've got to be better at thinking out this." That's a great thing for ten year olds.
Hank Cohen:
Well, suffice it to say that every area of our studio pretty much is working on different ideas of perpetuating Stargate SG-1. [Applause]
Question:
I just want to thank everybody who's on the production crew, and congratulate them on their Gemini nominations. [Cheers and applause] I wonder if Brad Wright or Robert Cooper, or Michael wanted to comment on the politics of the Gemini nominations? [Laughter]
Hank Cohen:
I have an article you guys could read...
Brad Wright:
To get... now my microphone isn't working! To get into the Geminis, it's a jury process. We submit every year, Michael Shanks, Amanda Tapping, all our cast, everyone who is Canadian on our production staff. For the last couple of years, thought, I admit I was a little bit outraged that our production design team and our costume team wasn't nominated, and I was a little vociferous to the press about it. Because, you know what, this is the best looking show, I think, that... [Interrupted by cheers and applause]
Hank Cohen:
I just want to add congratulations to them also for an Emmy award because... [Interrupted again by cheers and applause]
[At this moment, additional members of the cast including Amanda Tapping, Don S. Davis, JR Bourne, and Jay Acovone, enter the side door and position themselves in front of the stage as if they want to ask a question of their own. As the audience begins to recognize who they are, there is some calling out, and cheers and applause. When the audience quiets down, Amanda asks her question of the production panel.]
Amanda Tapping:
Um... Why did you kill Martouf? [Roaring cheers, applause, and laughter from the audience]
Peter DeLuise:
Haven't you people learned that nobody ever dies on Stargate? [More cheers]
Brad Wright:
Jay Acovone is here! He died in episode one! [More cheers]
Jay Acovone:
Well, we'd like to know... When are we coming back?? [More cheers]
Brad Wright:
What I like about this is there's no pressure! [Laughter] Uh... Soon, Jay, soon!
[There are more calls and cheers from the audience and the stage as Allan Gowan comes forward to close the panel session and make the introductions for the next session.]
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Transcript written by KateR. Gatecon 2000. September 22-24, 2000.