Production
- This episode features a brand new opening sequence, with various shots of the gate spinning, and Michael Shanks' name being removed to make way for Corin Nemec's in between Christopher Judge and Don S. Davis.
- There was an intentional goof in the 18th minute of the episode: a monitor displayed the time that the wormhole had been active, but its reflection was not reflected mirror-inverted in the briefing room window, but displayed forwardly. This was done on purpose so that the viewer would have a concept of the time running out even when the timer wasn't in shot.
- "Redemption" was not originally a two-parter, but Robert C. Cooper noticed during writing that while the script was already too long, there was still a huge hole in the story. He always wanted to do more with Teal'c and Rya'c but never had the story to fit those scenes into.
- "Redemption" introduced the X-302, the first human-built fighter plane retro-engineered from Goa'uld technology. Andy Mikita came up with the idea to put the X-302 prop on a flatbed truck and drive it out of the hangar so that in the shot in looks like it taxies itself out. After Brad Wright and Robert C. Cooper, who have a passion for fighter jets, had flown in two T38 Airforce jets, Wright intended to write an episode with T38s in it, and bring the pilots from the US to Vancouver, Canada, where SG-1 was filmed. The T38s were put in the background of all shots.
- There was a lot of night-shooting in "Redemption".
- The scenes with O'Neill and Carter in masks in the X-302 were dubbed after filming.
Read more about this topic: Redemption (Stargate SG-1)
Famous quotes containing the word production:
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The development of civilization and industry in general has always shown itself so active in the destruction of forests that everything that has been done for their conservation and production is completely insignificant in comparison.”
—Karl Marx (1818–1883)